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SALE NUMBER 2128 
PUBLIC EXHIBITION FROM SUNDAY, JANUARY SIXTEENTH 


PAINTINGS & SCULPTURE 


FROM THE COLLECTIONS OF 


feed. ARCHDUKE 
Pee Ou SALVATOR 


THE 
MARQUESS OF READING 
z SOLD BY THEIR. BRDER , 


rem ALE 


LORD GRIMTHORPE | 


WOODLEA, VIRGINIA WATER 
SURREY, ENGLAND 


SOLD BY ORDER OF 
PHILIP SAMUEL, ESQ. 


NICE, FRANCE 


MR. XAVIER HAAS 


14 RUE CASSINI, PARIS, FRANCE 


MR. LOUIS COSTA TORRO 


CHATEAU DES IRIS, LORMONT, GIRONDE, FRANCE 
SOLD BY THEIR ORDER 


TO BE SOLD BY AUCTION 
THURSDAY & FRIDAY EVENINGS 
JANUARY TWENTIETH, TWENTY-FIRST 
AT. EIGHT-FIFTEEN 


THE ANDERSON GALLERIES 


{MITCHELL KENNERLEY, Present] 
489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 


1927 


CONDITIONS OF SALE 


ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. 


The highest bidder to be the buyer. In all cases of disputed bids the decision of the 


Auctioneer shall be final. 


Buyers to give their names and addresses and to make such cash payments on account 
as may be required, in default of which the lots purchased shall be resold immediately. 


Purchases to be removed at the buyer’s expense and risk within twenty-four hours from 
the conclusion of the sale, and the remainder of the purchase money to be paid on or 
before delivery, in default of which The Anderson Galleries, Incorporated, will not be 
responsible for any loss or damage whatever, but the lot or lots will be left at the sole 


risk of the purchaser, and subject to storage charges. 


All lots will be placed on public exhibition before the date of sale, for examination by 
intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible 
for the correctness of the description, authenticity, genuineness, or for any defect or 
fault in or concerning any lot, and makes no warranty whatever, but will sell each lot 


exactly as it is, WITHOUT RECOURSE. 


If accounts are not paid and purchases removed within twenty-four hours of the con- 
clusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum 
deposited as part payment shall be forfeited, and The Anderson Galleries, Incorporated, 
reserves the right to resell the lot or lots by either private or public sale, without further 
notice, and if any deficiency arises from such resale it shall be made good by the defaulter, 
together with all expenses incurred. This condition shall be without prejudice to the right 
of this Company to enforce the sale contract and collect the amount due without such 
resale, at its own option. 


The Anderson Galleries, Incorporated, will afford every facility for the employment of 
carriers and packers by the purchasers, but will not be responsible for any damage arising 
from the acts of such carriers and packers. 


The Anderson Galleries makes no charge for executing orders for its customers and uses 
all bids competitively, buying at the lowest price permitted by other bids. 


A Priced Copy of this Catalogue may be obtained for One Dollar 
for each Session of the Sale 


THE ANDERSON GALLERIES, INC. 
489 Park AvENUE AT Firry-NINTH STREET, New York 


TELEPHONE REGENT 0250 CATALOGUES ON REQUEST 
SALES CONDUCTED BY MR, F, A, CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON 


“~— 
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SALE THURSDAY EVENING, JANUARY TWENTIETH, AT EIGHT-FIFTEEN 


FIRST SESSION 


NUMBERS 1-84 


GOTHIC AND RENAISSANCE WOOD CARVINGS 


NUMBERS 1-24 


TWO RARE EARLY WALNUT CARVINGS 

(a) RENAISSANCE SEAL FLORENTINE, 16TH CENTURY 
Figurine in a jacket composed of masks and ending in points. On 
turned pedestal. An exquisite small object. Height, 414, inches 


(b) AMORINO HOLDING LANTERN FLORENTINE, 16TH CENTURY 
With hair, wings and lantern gilded. (H. 1. H. Archduke Leopold 


Salvator) Height, 6 inches 


LOWER AUSTRIA, 15TH CENTURY 


TWO CARVED OAK STATUETTES OF SAINTS 

ST. JOHN, THE EVANGELIST 

Youthful figure with long curling hair and in monastic robes, hold- 
ing a chalice in his left hand. Right hand missing. 


ST. STEPHEN 
A bearded figure holding an open book in his right hand and a 
staff in his left. (H. J. H. Archduke Leopold Salvator) 

Height, 20 inches 


STYRIAN, EARLY 16TH CENTURY 


GLAZED STONEWARE BAS RELIEF OF THE PIETA 

The robes and cloak of the Holy Virgin show traces of blue and 
crimson enamel while the flesh tints are unglazed. (H. J. H. Arch- 
duke Leopold Salvator) Height, 614 inches 


SOUTH TYROLEAN, 15TH CENTURY 


ALTO RELIEVO CARVING 
Statuette of a saint with long curling hair, holding calendar in the 
form of a fringed cloth. Traces of original gilding and polychromy. 
(H. I. H. Archduke Leopold Salvator) 

Height, 24 inches; width, 5 inches 


[5] 


SOUTH TYROLEAN, 15TH CENTURY 


5 CARVED WOOD, POLYCHROMED AND GILDED ALTO RELIEVO 
OF ST. MARTIN> 
Dressed in Gothic royal armor over which are thrown the ample 
folds of a cloak of gold. His noble bearded countenance is framed 
by long curling brown hair. Right hand damaged. (H. JI. H. Arch- 
duke Leopold Salvator) , Height, 35 inches 


[SEE ILLUSTRATION | 


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[7] [6] [7] 


SALZBURG, 17TH CENTURY 


CARVED POLYCHROMED SCROLLED CONSOLE WITH BUST 
OF A MISSIONARY BISHOP 
Interesting architectural document composed of an acanthus leaf 
from which emerges the figure of a bishop with mitre and crozier, 
and holding the symbol of the fish (symbol of heathen conversion). 
He is dressed in blue robes with agrafhto enrichment of gold. The 
leaf is gilded. (H.J. H. Archduke Leopold Salvator) 

Height, 21 inches; width, 20 inches 


[SEE ILLUSTRATION ] 


SPANISH, EARLY 17TH CENTURY 


TWO CARVED AND GILDED STATUETTES 
ST. IGNATIUS AND ST. ALPHONSO 
They are represented in embroidered voluminous cloaks of gold, their 
faces of life-like portraiture are natualistically painted. Both statues 
slightly imperfect. (H. I. H. Archduke Leopold Salvator) (2) 
Height, 39 inches 
[SEE ILLUSTRATION ] 


3 


10 


NURNBERG, 15TH CENTURY 


CARVED WOOD AND GILDED ALTO RELIEVO PANEL 
THE HOLY VIRGIN AND TWO SAINTS 
The Holy Virgin is robed in an embroidered garment of gold with 
a gold cloak thrown over her shoulders and head. The embroidery 
of the garments simulated by sgraffito carving. Rich old patina and 
original gilding. (H.I. H. Archduke Leopold Salvator) 

Height, 30 inches; width, 22 inches 


BASLE, LATE 15TH CENTURY 


COLUMNAR STILE WITH STATUETTE OF ST. PETER 
Architectural detail of considerable interest. St. Peter in volumin- 
ous robes holding the key, supporting an Ionic capital. Eighteenth 
century redecoration. (H. JI. H. Archduke Leopold Salvator) 
Height, 12 inches 
[SEE ILLUSTRATION ] 


VENETIAN, 15TH CENTURY 


CARVED WALNUT STATUETTE OF THE MADONNA AND 

CHILD 

The Virgin in flowing robes with carved border simulating embroid- 

ery, 1s holding the Infant Christ tightly clutched. Excellent work- 

manship, light brown patina. Arm missing. (H. J. H. Archduke 

Leopold Salvator) Height, 934, inches 
[SEE ILLUSTRATION] 


4 


[12] [9] [10] [11] 


TYROLEAN, 15TH CENTURY 


PAINTED TERRA COTTA STATUETTE OF ST. FLORIAN 
The saint in mediaeval robes with the emblem of the cock; at his 
knees a winged seraph. (H. J. H. Archduke Leopold Salvator) 
Height, 10 inches 
[SEE ILLUSTRATION] 


SPANISH, 16TH CENTURY 


IVORY STATUETTE OF THE MADONNA ON CRESCENT 

The Holy Virgin in draped cloth with gilded and polychromed and 
finely engraved border simulating gold embroidery. Her hair and 
the hair of the Christ Child are gilded. The globular plinth with 
three winged amorini heads and banderole. Traces of polychromy. 
(H. 1. H. Archduke Leopold Salvator) Height, 8 inches 


[SEE ILLUSTRATION | 
5 


13 


14 


[14] [13] [14] 


SALZBURG OR BAVARIAN, 14TH CENTURY 


CARVED WOOD AND POLYCHROMED STATUETTE OF AN 
ABBESS 

She is robed in a cloak of parallel flutes held by an agrafe. She 
wears a mitre with ribbons. Flesh tints with 16th or 17th century 
repainting. One hand missing. (H. I. H. Archduke Leopold Salva- 
tor) Height, 3314 inches 


BASLE, CIRCA 1460-1470 


PAIR OF GOTHIC CARVINGS OF BISHOP SAINTS 
ST. MARTIN 
In the robes of a cardinal, wearing the bishop’s mitre and carrying a 
shepherd’s staff; he is dropping a coin to a kneeling beggar beneath. 
ST. LUKE 
With fleur-de-lisé triple Byzantine crown and in mediaeval robes 
with emblem of the ox at his right. Traces of the original poly- 
chromy and gilding are more and more appearing through the more 
recent decorations. (H.J/. H. Archduke Leopold Salvator) 

Height, 281% inches 


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[15] [16] Paninke 


VIENNESE, 15TH CENTURY > 


CARVED WOOD POLYCHROMED STATUETTE OF SAINT 

A slim figure in a short leather jacket, his limbs uncovered and his 
feet in leather shoes. Finely modelled figure of great charm. Hands 
missing. (H. J. H. Archduke Leopold Salvator) Height, 37 inches 


NURNBERG, 16TH CENTURY 


CARVED OAK GROUP OF THE CIRCUMCISION 
The Holy Virgin in long flowing robes, her head covered with a tur- 
ban; to the right the high priest in voluminous mantle with cape. 
The Christ Child is placed on a table on curiously turned supports 
covered by a cloth. (H. JI. H. Archduke Leopold Salvator) 

Height, 20 inches; width,,16 inches 


VENETIAN, 16TH CENTURY 


CARVED AND GILDED STATUE OF SAN BERNARDO 

DI CHIARAVALLE 

Robed in a shining cloak of gold and holding a book in his right 
hand. His plastic features painted naturalistically. One hand miss- 
ing. (H. I. H. Archduke Leopold Salvator) Height, 36 inches 


7 


18 


C181 


SCHOOL OF THE PISANI 


CARVED WOOD STATUETTE OF THE MADONNA ON A DAIS 
The Virgin with long gilded curls wears a cloth on her head. She 
is draped in voluminous robes and is seated on a throne chair of 
elaborate design, the arms with amorini head crestings and leaf 
carved wings, on claw feet supports. The Infant Christ is holding 
a bird in His right hand. Under the more recent decoration can be 
found traces of the original gilding and polychromy. Sculpture of 
uncommon importance. . The Pisani School continued the Greek and 
Roman tradition in their treatment of form and architecture. One 
hand of the Madonna missing. (H.I. H. Archduke Leopold Salvator) 
i Height, 45 inches 
[SEE ILLUSTRATION ] 


8 


[19] [20] [21] 


BY AN UNKNOWN MASTER 


GLAZED TERRA COTTA STATUETTE OF THE MADONNA 

The glazing possibly by Luca della Robbia. The entire group is 
of unglazed terra cotta but for the cloak and head cloth of the 
Virgin (H. 1. H. Archduke Leopold Salvator) Height, 24 inches 


BOHEMIAN, 17TH CENTURY 


CARVED WOOD, GILDED, SILVERED AND POLYCHROMED 
STATUE OF ST. ANNA HOLDING THE VIRGIN 

In richly gilded cloak, head and body in silver with crimson stripes. 
The Holy Virgin seated on St. Anna’s lap with crown and pome- 
eranate. (H.I. H. Archduke Leopold Salvator) Height, 16 inches 


SALZBURG, 15TH CENTURY 


CARVED, POLYCHROMED STATUETTE OF A SAINT BISHOP 
A remarkable image of the great prelate of the Seraphic Order 
enveloped with cloak of gold, an open book in his left hand and 
cerozier in his right. (H. J. H. Archduke Leopold Salvator) 
Height, 26 inches 
Formerly in the ancient Benedictine Convent of Nonnberg.  Illus- 
trated and described in Osterreichische Kunsttographie, Vol. VII, 
pages 135 (Fig. 185) and 136. 


9 


nm [22] 


STONE HIGH RELIEF 
22 PRISONER’S HEAD 


In a block of soft stone is cut the resemblance of a window with 
engaged arch, carried by two small columns. The window is grilled 
by two vertical bars. Behind the bars appears the head of a woman 
her face with a melancholy expression. It is impossible to say if this 
object comes from a worldly or a religious decoration, though it has 
been popularly known as Joan of Arc. Distinct traces of polychromy. 
Slight restoration. In the style of the Palais Jacques Coeur at 
Bourges, and also like the Certosa of Pavia. From the Collection of 
Comte de Sagonne, Inspector des Beaux Arts, Moulin de l’Abbaye, 
Gif, Seine et Oise. 


Height, 2834, inches; width, 21 inches; depth, 10 inches 
10 


BY A SALZBURG MASTER 


28 BOXWOOD STATUE OF ST. GEORGE 
A remarkable sculpture, for beauty of composition, for its armorial 
interest and for its amazingly fine state of preservation. The youth- 
ful knight is dressed in Gothic armor rendered with careful attention 
to the minutest detail. The forceful countenance, doubtlessly a por- 
trait, is framed by a wealth of curling hair. In his left gauntlet he 
holds a shield while in his right a short sword. He stands upright 
on the coiled body of a dragon. (H. J. H. Archduke Leopold Salva- 
tor) Height, 41 inches 


11 


[24] 


24 BURMESE BRONZE HEAD OF BUDDHA 
CONTEMPORARY WITH YUAN, 1279-1368 
The heroic head of a giant statue. The lips painted crimson, the 
ears and cresting of high head dress gilded. Dark brown patina. 
In fine state of preservation. (H.I. H. Archduke Leopold Salvator) 


Height, 18 inches 
[SEE ILLUSTRATION | 


12 


25 


26 


PAINTINGS AND MINIATURES 


NUMBERS 25-84 


JOHANN VON AACHEN 
THE ADORATION OF THE MAGI 


- The centre with the magnificently attired kings with their horses 


and camels arriving before the Holy. Family who occupy the right 
foreground. Background with Romanic churches and Roman ruins. 
On a copper plaque. In modern gesso frame. © 


Size, 214 feet x 1 foot, 7 inches 


Johann Von Aachen was born at Cologne in 1552: (HH. T. H. Arch- 
duke Leopold Salvator) 


[26] 


ADRIATIC SCHOOL (DALMATIAN ) 
16TH CENTURY 


ST. PETER AND ST. PAUL 

Represented holding a church building; their robes are of silver leaf. 
On a soft blue-green ground. (H.J. H. Archduke Leopold Salvator) 
On panel. Size, 1114 x 814, inches 


GIVEN TO MARCO BASAITI 
VENETIAN 1460-1525 


27 SAN NICOLA DA TOLENTINO, AGUSTINIAN MONK 

Full length figure of a monk holding in his right hand a crucifix and 

a spray of white flowers and in his left a prayer book with brilliant 

_-searlet binding. His black habit bears on the front a plaque of the 

/ CO “moon. Interesting background of hilly landscape and castles, a deep 
. 2 blue river, islands and grazing animals, and a winding road with way- 
farers. Related in its delicacy of drawing to contemporary Flemish 

masters. Old gilded and moulded frame with arched spandrels.. On 

panel. (H.1.H. Archduke Leopold Salvator). Size, 34 x 23 inches 


[SEE ILLUSTRATION ] 


LADY DIANA BEAUCLERK 
1734-1808 


The activities of Lady Diana Beauclerk, the well known amateur and 


friend of Walpole are most interesting. Her paintings were much 


engraved by Bartolozzi. 


28 SELF-PORTRAIT 
Three-quarter length, facing front. The artist is seated, holding her 
palette in her left hand and her upraised brush in the right. 
Gouache.and pastel on paper. Size, 23 x 16% inches. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


ERIK GUSTAV BERON 
1748-1780 


Swedish miniaturist and pastellist who went to Paris in 1775, where he 
executed some lovely miniatures and a few rare pastels. 


1748-1780 


29 PORTRAIT OF A YOUNG NOBLEMAN 
Pastel on paper. Size, 2034, x 1714, inches. 
Signed and dated lower left: “‘peint 4 paris six mars 1776 par Beron.” 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


14 


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[27] 


[30] 


HENRI MET DE BLES 
FLEMISH, 1480-1550 


Hendrik Bles commonly called Henri Met de Bles (with the forelock) was 
a disciple of Patenier. His pictures have great and unusual charm and are 
much esteemed. 


30 


MADONNA AND CHILD 

The Holy Virgin enveloped by a long flowing crimson cloak, holding 
the Christ Child. She is seated on a stone balustrade and screened 
by a clump of trees. To the left St. Joseph guarding the ox, and in 
the right and left background a romantic landscape filled with round 
towered castles. 

In a painted Renaissance frame enlarged with broad moulding cov- 
ered with rose colored velvet. Panel. (H. J. H. Archduke Leopold 
Salvator) Size, 17 x 1414 mches 


16 


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31 


BOLOGNESE SCHOOL 
CIRCA 1450 


THE SAINTS, LUIGI DA TOLOSA AND BONAVENTURA 

Half length representation of the youthful Saints and martyrs, their 
halos screened by the mitre of Saint Luigi and the cardinal’s hat of 
Saint Bonaventura. They are robed in white habits. Saint Bona- 
ventura wears a crimson cloak bordered with gold and holds a richly 
tooled volume in his gloved hand. Saint Luigi in a brown fleur-de- 
lisé cloak, his arm embracing a crozier, his hands lifted up in prayer. 
Fresco transferred on canvas. In sixteenth century moulded black 
frame with gilded and leaf carved inner moulding. (H. /. H. Arch- 
duke Leopold Salvator) Size, 3 feet 4 inches x 2 feet 7 inches 


[SEE ILLUSTRATION ] 


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Be 2 eS Cte Rar UU don - 23/2 


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RICHARD PARKES BONINGTON 
1801-1828 


VIEW ON THE RIVER AT MANTES 

A view across the river, with an islet in the foreground, a male oure 
leaning over a fallen tree and a peasant girl seated near him; on the 
right two cows are standing in shallow water and on the sandy bank 
two other cows and a figure; to left a clump of trees, and birds on 
the wing, and in the background are seen trees which are dominated 
by the tower of the cathedral. (Lord Grimthorpe Collection) 
Painted about 1826. | . 
Canvas 141% inches by 20 inches. 

Purchased privately (with other pictures) from the ‘Marcus of 
Lansdowne’s collection at Bowood, by Messrs. Agnew, and sold by 
them in 1883 to the famous collector, Christopher Beckett-Denison, 
M.P. (who died in 1884). 

From the collection of C. Beckett-Denison’s nephew, Ernest William 
Beckett, who succeeded as second Baron Grimthorpe, in 1905. 

Note :—Bonington painted this same view at least three times, one a 
larger scale than the two others and each with minor differences. (1) 
The Earl of Normanton’s, 2114 inches by 33 inches, which passed 
into the collection of the late Mr. H. Darell Brown, of Sloane Square, 
London, and brought 2200¢s (£2310) at Christie’s in May, 1924. (2) 
The Morris K. Jesup version, 15 inches by 2034, inches, (which is the 
version in the Nieuwenluys sale of 1883, when it fetched 80 gs). 
bequeathed to the Metropolitan Museum, New York in 1915. Both 
these versions are illustrated in Debuisson’s Monograph on “Richard 
Parkes Bonington”, 1924, facing page 204, and (3) the present very 
fine version from the Bowood collection—the then Lord Lansdowne— 
who was one of the largest purchasers of drawings and pictures at 
the sale of Bonington’s remaining works at Sotheby’s in June 1829. 
Catalogued by W. Roberts. 


[SEE ILLUSTRATION ] 
18 


| [32] 


HIERONYMUS BOSCH (VAN AEKEN) 
1460-1516 


Hieronymus van Aeken, commonly known as Jerome Bosch, was born be- 
tween the years 1460 ard 1464. He was one of the most imaginative 
Netherland painters. He was much admired by Philippe II of Spain, who 
had an altar piece by him perpetually in his oratory. He is well repre- 
sented in Madrid, Berlin and Antwerp. 


33. ADORATION OF THE INFANT LORD 

The Virgin in blue-green voluminous robes is seated on a dais of 
Gothic design covered with embroidered robes of gold. Her sil- 
houette is outlined against gilded drapery. Long golden hair falling 
straight over her shoulders frames her wistful countenance. On 
her lap covered with a silk cloth she holds the Infant Lord, who is 
being adored by King Balthazar in royal robes of crimson and gold 
trimmed with a fur collar. To the left Gaspar, the Moorish king in 
magnificent needle painted crimson colored robes studded with 
jewels, carrying a gold plaque of the Crucifixion, and a jewelled and 
gilded ciborium. Behind King Balthazar appears Melchior carrying 
a gold mounted crystal cup, dressed in olive-green cloak lined with 
crimson and gold and wearing a turbaned crown. In the background 
through an opening can be seen the figure of St. Joseph in purple 
robes and through a window in a stone wall the heads of the ox and 
the ass. On the gabled pinnacle are perched three onlookers with 
spears and soldiers helmets, and to the right a magnificent portico of 
a Gothic palace with an arch on red marble columns and with enrich- 
ment of sculpture in white, and through which can be seen pouring 
the brilliantly cloaked crowd of the kings’ attendants. To the left a 
brick wall with leaded windows. 

On arched panel, in moulded gilded frame of later date. (H. I. H. 
Archduke Leopold Salvator) Height, 4214 inches; width, 30 inches 
Exhibited at loan exposition in the National Museum, Budapest. 


[SEE ILLUSTRATION ] 
20 


BRUGES SCHOOL 
FLEMISH, CIRCA 1480 


334 TWO WINGS OF A TRIPTYCH OF THE ADORATION 
With semi-arched panels, the left with the half-length figure of the 
Moorish king, Gaspar, in crimson gold-embroidered royal cloak over 
a tunic of brown and gold, holding a cup of gold; background of 
a * blue-green mountains and bosquets in fields. The right wing with 
x figure of St. Joseph in rose colored cloak holding a shepherd’s staff 
in his left hand; against a background of ruined arches through 
which can be seen a distant landscape. Panel. (H. I. H. Archduke 
Leopold Salvator) Size per panel, 35 x 914, inches 
This picture has been attributed to Jan Verhanneman, who for some 
time was active in Memling’s workshop. | 


|? 


WILLIAM BRADLEY 
1801-1857 


William Bradley was born at Manchester. Left an orphan, he began life 
as an errand boy, but at sixteen he began practice as an artist. He had a 
few lessons from Mather Brown, then in high repute at Manchester; and 
at the age of twenty-one went to London, where Sir Thomas Lawrence 
gave him encouragement. He was not second to any man of the day in 
producing a striking and intellectual likeness. 


34 PORTRAIT OF MISS MARY BIGMORE 
Bust, half to the left. Dark red low-necked dress with short sleeves. 
Young smiling face, with dark blue eyes. Light brown curly hair. 
Oils on canvas. Size, 2314, x 1914, inches. 
Carr-Gomm Collection. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


AUGUSTUS WALL CALCOTT 
ENGLISH, 1779-1844 


Sir Augustus Wall Calcott was an exhibitor at the Royal Academy. His 
work is well represented in the National Gallery and South Kensington. 


35 MOTHER AND CHILD 
Seated figure of a young matron in the attire of the Regency, with 
her right arm embracing a child, with scarlet and white feathered 
hat on blonde curling hair. Background of a Gothic cathedral. 
Colored chalk drawing on paper. (H. I. H. Archduke Leopold 
Salvator) Size, 321% x 21 inches 


22 


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ANTONIO CANAL, ORCANALE > 
COMMONLY CALLED CANALETTO 
1697-1768 


Born at Venice in 1697. He was the pupil of his father, Bernardo Canal, 
who was a decorator and scene painter. The principal public and private 
galleries of Europe and America possess examples by this master. 


36 VIEW OF THE PIAZZA SAN MARCO, VENICE | 

The famous square is shown at the most animated hour. In the fore-- _/ 
ground and on the right are the stalls of the cloth merchants. a) 
Friends meet, and go about their business, beggars demand alms, 
porters carry loads, noblemen take the air—nothing lacks to make an 

4 i¢ 07 exact and veritable picture of the Square as it was in 1730 or there- 

/ abouts. 
Oils on the original unlined canvas. Sight size, 2514, x 40 inches. 
Martin H. Colnaghi Collection. 
Costa Torro Sr. Collection. 
Louis Costa Torro Collection. NO 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
23 


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37 


38 


CANALETTO AND HIS SCHOOL | 


VENICE WITH SAN GIOVANNI E PAOLO 
The Canal is shown covered with gondolas in motley array; on the — 
bank opposite the church of San Giovanni e Paolo a row of palaces. 
Oils on the original unlined canvas. Sight size, 2434, x 3234, inches. 
“Fine carved frame.” 

“This picture has always been attributed to Antonio Canale, 
in the Hamilton Palace Collection. However, it is now common 
knowledge that this great artist was assisted by a pleiad of painters, 
among whom some of the better known were Tiepolo, Francesco, 
Giacomo and Jacopo Guardi, Longhi, Balestra, Crispi. So we must 
see in this picture not only the brush of the master, but also those of 
Giacomo Guardi and of Old Balestra.” | 
Hamilton Palace Collection. 

Martin H. Colnaghi Collection. 

Louis Costa Torro Collection. 

Catalogued by R. R. M. See. 


CANALETTO AND HIS SCHOOL 


REGATTA AT THE FEAST OF THE BUCENTAURE—THE 
WEDDING OF VENICE WITH THE ADRIATIC 

The Grand Canal covered with gondolas carrying guests to the Feast. 
On the right, the Campanile. On the left in the distance, Santa 
Maria della Salute. 

Oils on the original unlined canvas. Sight size, 29 x 50 inches. 

Here we are in the presence of a more pretentious type of Venetian 
views, with the aid of the brush work and the wonderful airiness of 
Bernardo Belloto, the nephew of Antonio Canale. The innumerable 
figures are certainly the work of Jacopo Guardi. It is to be noticed 


-that some of these have been finished by Longhi the Younger. Whilst 


Bernardo Belloto has looked after the buildings and the water, 
Antonio Canale has directed the whole scheme and supervised the 
work of his phalanx of young masters. 

Lord Ellesmere Collection. 

Martin H. Colnaghi Collection. 

Louis Costa Torro Collection. 

‘““A very fine work. May be used as a companion to the following 
picture.” 

Catalogued by R. R. M. See. 


24 


CANALETTO AND HIS SCHOOL 


THE DOGE GOING TO DIVINE SERVICE AT SANTA MARIA 
DELLA SALUTE 

In the centre the Grand Canal and the gilded gondola of the Doge, 
surrounded by small boats. On the right Santa Maria della Salute. 
The Doge surrounded by his retinue mounts the steps. On the left 
the Campanile and the Dogana. 

Oils on canvas. Sight size, 291% x 50 inches. 

Lord Ellesmere Collection. 

Martin H. Colnaghi Collection. 

Louis Costa Torro Collection. 

“A very fine work. May be used as a companion to the preceding 
picture.” 

Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
25 


[40] 


JAN VAN DE CAPELLE 
1624-5-1679 
40 A RIVER SCENE 
An extensive view at the entrance of a river, three large ships with 
figures on decks and sails more or less unfurled, two with the Dutch 
flag flying are disposed across the forepart of the picture, a rowing- 
boat with five men is apparently putting off from one of the ships to 
the other which seems outward bound; other ships and boats are 
seen, and on the left banks a range of trees, a windmill and church 
steeple; the river is calm but the cloudy sky portends a breeze. 
This well-painted and genuine picture came from the famous 
Shandon Collection of Robert Napier of Glasgow, and was offered at 
Christie’s April-June 1877, but it cannot be identified in the sale cata- 
logue. It was at one time in the possession of Messrs. Colnaghi & 
Co., the well-known picture dealers of London, and passed through a 
miscellaneous auction sale in London in December 1911. (328) 
(Lord Grimthorpe Collection) 
Canvas. 15 inches by 211/, inches. 
Catalogued by W. Roberts. 


[SEE ILLUSTRATION ] 
26 


[42] 


MARGARET CARPENTER 
FORMERLY MARGARET GEDDES 
1793-1872 | 


Followed the Lawrence manner in her portraits, and managed very often 
to approach his perfections. A very representative collection of her work 
is in the British Museum. or 


41 PORTRAIT OF RICHARD PARKES BONINGTON, THE ARTIST 
Head and shoulders, three-quarters to the right. Black coat, light 
waistcoat, white collar and black stock. Head facing front. Hand- 
some young face, clean shaven; large grey-green eyes; fair curly 
hair. : 7 
Pastel on paper, stretched on canvas. Size, 2134, x 174% wehes. 

Sir Guy Laking Collection. 

“A wonderful quality drawing, sustaining easily comparison with 
other portraits at the National Portrait Gallery.” 

“A most interesting picture, firstly as a very clever drawing, sec- 
ondly on account of the personality of the sitter.” 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


ANNIBALE CARRACCI 
ITALIAN, 1560-1609 


Annibale Carracci, the decorator of the Zampieri and Farnese Palaces was 
the pupil of Correggio and Parmigiano. His painting of the Crucifixion 
now at Castle Howard brought 4000 guineas at the Orleans sale. 


42 TWOSTUDIES FOR THE FARNESE PALACE 
(a) PHOEBUS AND PUTTI 
The nude winged figure of Phoebus with wreaths on his upraised left 
hand and in his hair, surrounded by amorini in clouds. 


(6) URANIA WITH HER EMBLEMS 
In rich gold brocades with blue cloak, holding a statue and leaning 
her right hand on a celestial globe. (Lord Grimthorpe Collection) 
(2) Size, 12 x 914 inches 
Formerly in the Lubomirski Collection. 

[SEE ILLUSTRATIONS ] 


28 


[42] 


Nt i, GEORGE CHINNERY 
! 1774-1852 


George Chinnery began to exhibit at the Royal Academy in 1791; practised 
in Dublin from 1797 to 1802 (married in 1799) ; and proceeded to Madras 
in 1802. Leaving Madras in 1807 he went to Calcutta, where he remained 
until 1825, when he sailed for China. 

Chinnery’s genius met with early recognition, and he could have made a 
large fortune if he had not been possessed of the eccentricity of genius and 
of so restless a character. In China he entered into a society which was 
not artistic, and his life was a constant financial struggle, yet on the whole 
a happy one. | 

Dr. Mendes in a recent letter to the writer says: “Une remarque tres 
interessante; la tradition de George Chinnery, a Canton, est encore bien 
vive. Il y est trés connu parmi les peintres a Vhuile. Dans un grand 
magasin de photographie ou je suis entré pour voir une peinture de 
Chinnery, on na remarqué quelle n’était pas la pour étre vendue, mais 
pour étre étudiée par les peintres, c’est de ““Chinnalee” (c’ était un portrait 
de femme anglaise ou américaine.)”’ 


43 PORTRAIT OF THE HONOURABLE MISS BARING 
Bust three-quarters to the left. White dress with square neck, short 
sleeves, high waist. Red sash. Head full front. Large dark limpid 
eyes. Fair hair cut in square fringe on forehead. Red hat with 
large brim, trimmed with red ribbon, tied under chin in bow. 
Irish period. 
Gouache on paper. Oval. Size, 241% x 20 inches. 
Signed at lower right, “G. Chinnery”. | 
Exhibited at “Les Enfants Anglais”, Paris, 1922. No. 11. 
Emile Gross Collection. 
Purchased in Ireland from Sir Hugh Lane, who had acquired it from 
the Ashburton Collection. 
Lord Ashburton had most of the members of his family painted by 
Chinnery. The peer’s own portrait was exhibited—No. 508, “The 


Late Lord Ashburton”—at the Royal Academy Exhibition of 1795. 
Xavier Haas Collection. 


Catalogued by R. R. M. See. 


[SEE ILLUSTRATION] 
30 


[43] 


44 


45 


46 


GEORGE CHINNERY 
1774-1852 


PORTRAIT OF A YOUNG LADY IN WHITE 

Bust, facing front. White dress, opened at neck in V. A beautiful 
face with large dark eyes—the artist’s bold brush work disguises the 
careful preliminary sketch. 

Gouache on paper. Size, 14% x 11 inches. 

Exhibited at “Les Jolies Anglaises du XVIII¢ Siécle”’, Paris, 1914. 
No. 6; “Les Enfants Anglais”, Paris, 1922. No. 11. 

Xavier Haas Collection. 

“A very charming and representative example of the master.” 
Catalogued by R. R. M. See. : 


GEORGE CHINNERY 
1774-1852 

PORTRAIT OF A LADY 
Bust three-quarters to the left. A young lady wearing a green 
bodice, décolleté, V-shaped, with a white fichu. 
Gouache on canvas. Size, 2214 x 1814, inches. 
Signed on right over sitter’s shoulder, ‘““G Chinnery”. 
O’Neill Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


GEORGE CHINNERY 
1774-1852 

PORTRAIT OF A CHINESE GIRL 
Bust, facing front. This very beautiful young Chinese girl wears a 
red kimono embroidered with blue and white chrysanthemums, with 
a blue and white border, over a white garment, of which the edge 
shows at the neck. The face is of a pure Chinese type—oval, with 
high cheek bones, small red mouth, and long almond eyes with dark 
pupils. 
Gouache on parchment made from ass’s skin. Size, 24 x 19 inches. 
Chinese frame of black wood with gold lacquer. 
Exhibited at ““Les Maitres Anglais’, Paris, 1919. No. 19. 
Mentioned in the article on Chinnery in ‘La Revue de l’Art ancien 
et moderne’. XXX. 1911. Reproduced on page 257 under the title, 
“Femme au Kimono”’. 
Mentioned in the article on Chinnery in “The Studio”. LXxXX. 
No. 331 (October, 1920). 
Thomas Colledge Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. | 


32 


[46] 


“ Nes 


Al 


AS 


GEORGE CHINNERY i 
1774-1852 | 


PORTRAIT OF A LADY . 
Bust, facing front. White dress, with pink Sneiie The face is young 
and pretty, with red lips, violet-blue eyes and a pink complexion. The 
fair powdered hair is bound with a wide red ribbon. Dark back- 
eround. | 

Gouache on paper-backed canvas. Size, 18%, x 14%% inches. 
Exhibited at “Les Jolies Anglaises du XVIII Siécle”, Paris, 1914. 
No. 4. . 
Emile Gross Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


GEORGE CHINNERY 
1774-1852 


PORTRAIT OF A GIRL 

Half length, facing front. High-waisted dress with square décolleté, 
sleeves to the elbow, red sash. Her face is softly rounded; on her 
lips lurks the shadow of a mischievous smile. Her eyes, wide open, 
innocent, and violet-blue. Her soft golden hair is parted in the 
middle. 

Gouache on paper, mounted. Size, 2034, x 1514 inches. 

Exhibited at “Les Enfants Anglais’, Paris, 1922. No. 9. 

Sir Tollemache Sinclair Collection. 

Emile Gross Collection. 

Xavier Haas Collection. 

“A very important and typical work of the master, comparable to 
any fine Goya.” 

Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
34 


[48] 


GECRGE CHINNERY 
1774-1852 


49 PORTRAIT OF A LADY 


Bust, three-quarters to the left. Broad white fichu, V-décolleté. 


Young smiling face, blue eyes, hair powdered and curled, and dressed 
with wide white ribbon. 


Shaded background. 

Gouache on paper. Size, 1914 x 1514, inches. 
““A very fine typical work by the Master.” 
Louis Costa Torro Collection. 

Catalogued by R. R. M. See. 


36 


[50] 


GEORGE COLE 
1810-1883 


George Cole was entirely self taught and began life at Portsmouth as a 
painter of portraits and of animals. However, he finally devoted himself 
to landscape painting and settled in London. He first exhibited in 1840 
and was a contributor to the British Institution and to the Suffolk Street 
exhibitions. 

1810-1883 
50 SULTRY WEATHER 
A typical English meadow-scene in summer-time, at once suggesting 
T. Sidney Cooper and one of his transcripts of Canterbury. A scat- 
tered group of five cows have found their way to the banks of a shal- 
low pool or stream of water, the time being the late afternoon of a 
sultry day. To the left is a picturesque range of trees, and in the 
distance several cottages are seen. The artist was entirely self- 
taught, and from 1849 to 1882 was a constant exhibitor at the Royal 
Academy and elsewhere of pictures of out-door life, usually with 
cows or sheep on the banks of rivers, such as this example of his 
work. He figures in the history of British art as the father of the 
better-known painter George Vicat Cole, R.A. (1833-1893 (Lord 
Grimthorpe Collection) 
14 inches by 21 inches. 
Catalogued by W. Roberts. 


JOHN SINGLETON COPLEY 
3 1737-1815 


Copley was born at Boston of Irish parents; he probably learned the first 
principles of his art from his stepfather, Peter Pelham. He painted por- 
traits of many distinguished people of Boston. From 1768 to 1812 he 
exhibited at the Royal Academy, the British Institution and the Society of 
Artists, and became a member of the first-named society in 1779. 


51 PORTRAIT OF A GENTLEMAN 
Bust, facing three-quarters to the right. Long dark coat with collar 
and lapels, and numerous cloth-covered buttons, open over long 
straight waistcoat of the same material, with similar buttons. White 
stock, tied in bow. The face shows a very serious young man, clean 
shaven, with grey-green eyes, and a curiously high domed head with 
straight dark hair. 
Grey-green background. 
Pastel on paper. Oval, framed in rectangle. Size, 13834, x 1134 inches. 
Signed on right, “J S Copley”’. 
Braithwaite Wilson Collection. 
Lord Amherst of Hackney Collection. 
Emile Gross Collection. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
38 


[51] 


JOHN SINGLETON COPLEY _ 
1737-1815 | 


52 PORTRAIT OF MAJOR GENERAL DIGBY HAMILTON 

On the back of the frame is pasted this notice: 

“Major Genl. Digby Hamilton 

Served 50 years in the service. 

Adjutant 19th Light Dragoons. 

Halispayel (oa erer Ul bare Scots | 

Greys 1785. August 1799 appointed 

Lit: Col Commandant in H Royal Waggon 

Train. Died at his house in Cleveland Place 

St. Jame’s March 22nd 1820.” : 
The General wears a red regimental tunic, with gilt shoulder straps 
and epaulettes, gilded brandenbourgs and buttons, and a straight 
dark blue collar—open over a white waistcoat with gilt buttons, a 
white collar with a high black stock, and a white frilled ruffle. He 
is shown in bust, facing three- quarters to the right: 
Pastel on paper. Size, 1134, x 9 inches. 
Exhibited at ‘Les HET ace Paris, 1919. No. 46; ‘Zurich. 
No. 19. | 
Braithwaite Wilson Gollectons 
Lord Amherst of Hackney Collection. 
Charles Sedelmeyer Collection. 
Emile Gross Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION] 
40 


FRANCIS COTES, R.A. 
1725-1770 


Francis Cotes was one of the important painters of the eighteenth century _ 


England. He was one of the foundation members of the Royal Academy. 


53 MISS ELIZABETH RYVES 
Portrait of a lady, half length to the waist, in a dress of buff-coloured 
silk, with lilac scarf, embroidered in gold. A beautifully worked 
lace collar leaves the neck bare in a square décolleté. She is nearly 
full face. The right arm is bare to the elbow, showing the muslin 
of the under-dress; the arm rests on a pink velvet cushion of a deli- 
cate hue. 
She wears magnificent pearls, both on her hair, and round the décol- 
leté of the dress. She is dressed in the fashion of the middle of the 
eighteenth century. Her curls are falling elegantly on her beauti- 
fully shaped neck. The face is painted in most delicate crayons. 
She has a milky-rose complexion, dreamy blue eyes, a finely shaped 
nose and a lovely mouth. 
The background, as is usual in Cotes’ best achievements, is steel-blue, 
with a browny-blue sky, giving depth and relief to the picture. 
Pastel on paper, stretched on canvas. Size, 24 x 1734, inches. 
Carved frame of the period. ; 
Inscribed and dated on the top, left hand corner: ‘Miss Eliz. Ryves. 
F. Cotes p.x.1750.” 
Jules Porges Collection. 
Emile Gross Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
42 


[53] 


SAMUEL COTES 
1734-1818 


Samuel Cotes, brother and disciple of the Hee oes, mentioned irtiee WAS 
a member of the Incorporated Society of Artists. EHa«hibited miniatures at 
the second ozo Academy in 1769. 


54 PORTRAIT OF BARBARA GUNNING—AFTERWARDS THE 
COUNTESS OF COVENTRY 
Bust of a young lady in white silk bodice, with buff sleeves on n which 
are bands of lilac. She has blue drapery on her right shoulder. The 
face, three-quarters to the left, is that of a young country girl of 
good family. The ornaments on the dress and in the curly brown 
hair are testimonials to her wealth. 
Pastel on paper. Size, 1614 x 1714 inches. 
Sir Tollemache Sinclair Collection. 
Martin Colnaghi Collection. 
Ernest Renton Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


JOHN CROME (“OLD CROME”) 
1769-1821 


Crome was born at Norwich, England, the son of a weaver. In 1808 he 
founded the “Norwich Soctety”’, of which he was elected President in 18085 
this was the beginning of the famous “Norwich School” of landscape paint- 
ers. He has been called the grandest of English landscape painters. 


55 COTTAGE AND FIGURES 

A summer scene with a picturesque view of an old thatched cottage 
surrounded by loosely growing shrubs, a blacksmith’s shed with a 
man shoeing a horse on the right; leaning against the wooden fence 
of the cottage a peasant woman is feeding chickens, and through the 
open gateway a man on a grey horse is passing, and to the left a 
tall branching oak tree with shrubby undergrowth. 

From the Collection of the Hon. C. Hanbury. (Lord Grimthorpe 
Collection) Canvas. 3014 inches by 42 inches. 


[SEE ILLUSTRATION ] 
44 


[56] 


ALBERT CUYP (ATTRIBUTED TO) 
PROBABLY BY 
JAKOB VAN STRIJ 
1756-1815 


Jakob van Strij was born at Dordrecht, 1756. He studied at home, under 
his father, and at Antwerp, under Andrew Lens, and also at the Antwerp 
Academy. Four of his landscapes are in the Royal Museum at Amsterdam. 


56 THE COWHERD 
A young bull with a collar and a chain. Lying behind it, a young 
boy on his stomach resting on his folded arms, with a stick under 
his hand. On left, a dog walking away. Right background, a herd 
of cattle. Meadow landscape, with a church on horizon. 
Oils on panel, which has been carefully cradled. Size, 21 x 2414 
inches. 
Louis Costa Torro Collection. | 
“This important picture was sold as the work of Albert Cuyp at 
Christie’s in 1919.” 
Catalogued by R. R. M. See. 


46 


JACQUES LOUIS DAVID 
FRENCH, 1748-1825 


57 PORTRAIT OF AN IMPERIAL PRINCESS OF RUSSIA 


Full length portrait of a young girl of about sixteen, dressed in a 
gold brocaded cream colored robe and a cloak with sleeves of plum 
colored velvet trimmed and lined with ermine and with soldiers 
epaulettes. In contemporary Empire gesso frame. 

Canvas. Size, 4 feet, 2 inches x 3 feet, 2 inches. 

(H.1I. H. Archduke Leopold Salvator) 


[SEE ILLUSTRATION |] 
A7 


[58] 


WILLIAM DOBSON 
ENGLISH, 1610-1646. 


Wiliam Dobson was a favorite pupil of Van Dyck after whose death he 
was appointed serjeant painter to Charles the First. 


58 PORTRAIT OF PRINCESS MARY OF ENGLAND AS DIANA 
The youthful princess aged about fourteen in resplendant scarlet 
robes. Oil on Panel. Size, 4614 inches x 814% imches. 
(H.1I. H. Archduke Leopold Salvator) 


48 


~ SCHOOL OF GERARD DOU 
DUTCH, 17TH CENTURY 


59 YOUNG GIRL WITH FLOWER 

_ . Bust portrait of a girl of about fifteen, in black velvets with lace 
i< Of - collar and corded bonnet, holding a carnation. She is seen through 
-anopen window. (H.J/.H. Archduke Leopold Salvator) 

Canvas. Size, 844x714 inches. 

Gesso frame of later date. 


SAMUEL DRUMMOND 
1763-1844 


Samuel Drummond, portrait and. historical painter, became an Associate 
of the Royal Academy in 1808, and afterwards Curator of the Painting 
School. Another portrait of Mrs. Fry is in the National Portrait Gallery. 


60 PORTRAIT OF MRS. FRY 
Bust, three-quarters to the right. Green dress with low square neck, 
Do- | high waist, and short sleeves. 
Another painting by the master—of a young girl’s head—is to be 
seen on the back of the canvas. 
Oils on canvas, original unlined. Size, 24 x 18 inches. 
Sir Cuthbert Quilter Collection. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


GAINSBOROUGH DUPONT 
1767-1797 


Painted portraits and landscapes in the style of his uncle, Thomas Gains- 
borough, R.A., and also landscapes with architectural ruins. 


61 PORTRAIT OF GEORGE III 

Head and shoulders, half to the left. His Majesty wears a dark blue 
coat with gilt buttons and braid, and scarlet lapels. 
Oils on canvas. Oval. Size, 2314 x 1934, inches. 
Louis Costa Torro Collection. 
“This picture was purchased in Brighton by Lord Wallscourt. It 
was attributed to Thomas Gainsborough and many experts still hold 
to this attribution.” 
Catalogued by R. R. M. See. 


49 


62 


SIR ANTHONY VAN DYCK 
1599-1641 


DESCENT FROM THE CROSS: CHRIST BORNE TO THE TOMB 
CIRCA 1627-1632 

The body of Christ is supported by St. John, who wears a red mantle. 

On the right are the three Marys. The mother of Jesus seems to be 

pointing to her Son’s body. She wears an orange gown, while Mary 

Magdalene is drapped in a blue cloak with the hood over her head. 

In the lower left corner are two weeping cherubs with emblems of 

the Crucifixion. 

Oils on canvas. Size, 2714 x 241% inches. 

Exhibited at Antwerp Van Dyck Exhibition, 1899. No. 24. 

Exhibited at the Brussels Museum, Brussels International Exhibi- 

tion, 1910, as one of the most representative works of the master. 

No. 167. | 

Reproduced by MM. Braun et Cie, in their collection of representa 

tive Van Dycks. 

De Moerlooze Collection. 1899 (Exhibitor at the Antwerp 

Exhibition). 

Accompanied by a letter in Dutch from the organizors of the Van 

Dyck exhibition, dated Antwerp, 18 May 1900, and signed by Max 

Rooses, then Director of the Musée Plaintin, thanking the owner for 

allowing this picture to be exhibited. 

Rothschild Collection. 1910 (Exhibitor at the Brussels Exhibition) . 

Leopold Hirsch Collection. 1911. 

Costa Torro Collection. 1912. 

Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
50 


et nee ee re ee ee tnt ete ee ce 


<del aa ape tae cae: he in Ne i ‘st Pan ty i tag ie ee ape ate: 


[62] 


[63] 


PRIMITIVE FLORENTINE SCHOOL 
14TH CENTURY 


63 MADONNA AND CHILD WITH SAINTS 

The Madonna seated on a dais, enveloped in scarlet and with a blue 
cloak trimmed with gold. She is holding the Child also dressed in 
scarlet. Background of the dais shows intricate sgrafito traceries of 
gold. To the right and left of the arms are four female saints in blue 
and scarlet. Original gold ground. (H. I. H. Archduke Leopold 
Salvator) 

On gabled panel. Size, 11 inches x 8 inches. 


[SEE ILLUSTRATION | 
52 


[64] 


THOMAS FRYE 
1710-1762 
Thomas Frye can justly be counted among the fathers of the eighteenth 
century school of draughtsmen and pastellists in Great Britain and Ireland. 


64 PORTRAIT OF MARY, WIFE OF CAPT. THOMAS THOMPSON 
On the left hand side of the picture, in red chalk in the background, 
is inscribed the signature, “T. Frye Fecit’’. 

Webb Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


53 


65 


THOMAS GAINSBOROUGH, R.A. 
ENGLISH, 1727-1788 


PORTRAIT SKETCH OF THE DUCHESS OF CUMBERLAND 

Full length likeness of a young woman of rank in flowing golden- 
yellow garments with dark brown cloak held over her left shoulder. 
Background of Autumn landscape. Contemporary gesso frame. 
(H. I. H. Archduke Leopold Salvator) 

In oils on canvas. Size, 1714 x 14 inches. 


This portrait was formerly the property of the Dukes of Cumber- 
land. 


54 


URBAN GOERTSCHACHER 
AUSTRIAN, CIRCA 1508 


66 ST. GEORGE AND THE DRAGON 

y > ¢ St. George of Cappadocia in Gothic armor on a dark brown charger 
} with feather crestings on his head has pinned the dragon to the earth 
with his lance. To the right Cleodolinda in royal robes, prepared for 
the sacrifice of her life, wringing her hands in anguish. Background 
of a monastery on a river front. Painted in distempers on panel, 
cradled. Contemporary polychromed and gilded frame. (H. J. H. 
Archduke Leopold Salvator) Size, 21 x 17% inches. 


oo 


oS 


SIR JOHN WATSON GORDON, R.S.A._ 
1790-1864 


Sir John Watson Gordon, eldest son of Captain James Watson, R.N., WAS - 
born at Edinburgh. On the death of Raeburn, in 1823, he became the chief 
portrait painter in Scotland, when he assumed the name of Gordon. 


67 PORTRAIT OF MRS. McCORQUODALE 
Three-quarter length, seated, her hands clasped in her lap, holding a 
yellow wrap of which one end hangs over the arm of the red velvet 
arm chair. White satin dress. 
Oils on canvas. Size, 281% x 24 inches. 
Lord Ellesmere Collection. | 
Martin H. Colnaghi Collection. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


CARL GRUBER 
AUSTRIAN, EARLY 19TH CENTURY 
68 FLOWERS : 
Composition of naturalistically painted garden flowers in an urn 
shaped vessel. To the left a butterfly. | 
Canvas. Size, 2114 x 1714 inches. 
Signed and dated 1830. (H. I. H. Archduke Leopold Salvator) 


GEORGE HENRY HARLOW 
1787-1819 


69 PORTRAIT OF MISS F. M. RICHARDSON CURRER 
The famous book collector, and the owner of a fine collection of 
prints. 
Oils on canvas. Size, 29 x 24 inches. 
Dibdin Collection. 
Baroness Burdett-Coutts Collection. 
Martin H. Colnaghi Collection. 
Baron Costa da Torro Collection. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION | 
56 


[69] 


GEORGE HENRY HARLOW 
1787-1819 


70 PORTRAIT OF MRS. TROWBRIDGE | 
Bust to the waist, in a landscape. White silk dress, V-shaped 
décolleté, and blue silk scarf, thrown loosely over her shoulder and 
left arm. The face is slightly turned to the left, looking front. 
Bluish-grey eyes, curly brown hair, and very decided features and 
mouth. 

Pastel on paper, stretched on canvas. Size, 241% x 151% inches. 
Exhibited at ‘‘Les Maitres Anglais’, Paris, 1919. No. 116. 
Sidney Cooper Collection. 

Emile Gross Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


THOMAS HEAPHY, THE ELDER 
1775-1835 


In 1808 Heaphy was made a member of the Old Water Colour Society and 
executed a miniature of the Princess of Wales and many other distin- 
guished personages. He assisted in founding the Society of British Artists 
and also a few years later the New Water Colour Society. 


71 PORTRAIT OF A LADY 
Full length, sitting on a garden-seat, under a canopy. Long, white 
dress; her left arm is bare, and resting on her knee; her right arm is 
gloved with a yellow glove. She is looking in a pensive mood, three- 
quarters to the left. Black hair, with a few curls. Brown eyes. 
Water colour drawing, very delicately executed in the flesh parts. 
The background is broadly executed, also the trees, which are height- 
ened by a few strokes of wash. 
Sight—size, 1414, x 105% inches. 
Signed and dated on the left hand bottom corner, “T. Heaphy (1801) ”. 
On paper stretched on canvas. Both on the canvas and on the back 
stretcher are seen in the handwriting of the artist, “T. Heaphy Dit. 
1801 137 Longacre, London.” 
Monroe Collection. 
Emile Gross Collection. 
Xavier Haas Collection. 
“A very important drawing by the Irish artist.” 
Catalogued by R. R. M. See. 


58 


f 


[72] 


MARTEN VAN HEEMSKERK 
DUTCH, 1498-1574 


Van Heemskerk was a pupil of Michaelangelo. Many of his great pictures 
can be studied at Haarlem. 


72 THETIS WITH SHIELD OF ACHILLES IN VLUCAN’S FORGE 
After Homer. ‘Thetis in translucent blue and rose flowing robes. 
Behind her two nymphs ready to take the other pieces of armor, 

oan - while a Cyclops stops from his labor to look at the divine visitors. 
Vulean nude, wearing a loin cloth, presents the shield of Achilles. 
One of three wing's of a triptych of which the two other wing's are in 
the Museums of Vienna and Prague. Painted 1540. 
Froehlich Collection, 1910. Described, page 78, “Martin van Heems- 
kerk’’ by Leon Preibsz, 1911. 
Canvas. Size, 3 feet 3 inches x 3 feet 6 inches. 
(H.I. H. Archduke Leopold Salvator) 
59 


JOSEPH HIGHMORE 
1692-1761 


Joseph Highmore, an eminent Georgian painter, succeeded nearly atways 
in giving charm to the primness of his sitters. | ; 


13 


74, 


PORTRAIT OF A LADY 


Bust of a lady in white silk dress, trimmed with fur. A rose is 
fastened in the front of her square décolleté dress. Her hair 1s black, 
with blue ribbon and pearl ornament. | : eS 
Pastel, mounted on canvas and sirelonene <Size, 234 Ds 11% inches. 
Xavier Haas Collection. : | | . 
Catalogued by R. R. M. See. 


JOSEPH HIGHMORE Ss 
~ (16924761) aes sy 


PORTRAIT OF LADY SINCLAIR 

Bust portrait, full face, in elaborate dress. ‘The dally is wearing an 
elaborate dress with white lace collar, cut V shape. 

Pastel. on paper, stretched on canvas. Size, 22% x 1714, inches. — 
In the carved frame of the period. TaN 

Sir Tollemache Sinclair Collection. 

Martin H. Colnaghi Collection. 

Catalogued by R. R. M. See. 


WILLIAM HOARE 
1706-1792 


Wiiliam Hoare, one of the foundation members of the Royal Academy, 
executed many pastels especially between 1770 and 1790. He is the direct 
precurser of Cotes, who seems to have followed his manner closely. An 
early Cotes and a late Hoare are sometimes very difficult to distinguish. 


15 


PORTRAIT OF MISS SIMPSON, THE ACTRESS 

Bust portrait of a lady wearing yellowish buff dress with a bright 
blue drapery. The neck décolleté, the chest covered by a lace chemise. 
Pastel on paper, stretched on canvas. Size, 2234, x 17 inches. 

Sir Tollemache Sinclair Collection. 

Ernest Renton Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
60 


[75] 


NATHANIEL HONE, R.A. 
1718-1784 


Hone was born in Dublin. He was entirely self-taught, but he neverthe- 
less obtained a solid reputation. He was one of the foundation members 
of the Royal Academy. 


76 PORTRAIT OF FANNY BURNEY, THE TALENTED AUTHORESS 
(MME D’ARBLAY) 
Three-quarter length, seated, holding an open book in left hand. Blue 
dress, fur-trimmed, lace décolleté, short very wide sleeves. Lace 
collar round neck; tied with blue ribbon. Vivacious intelligent face 
with brown eyes. Dark smooth hair parted in the middle, with 
chignon on top; blue ribbon. Red drapery on right. Edge of table 
and drapery on left. 
Oils on canvas. Sight size, 35 x 27 inches. 
Illustrated in colour, full page, as a representative work of Hone, in 
“The Connoisseur”, Vol. LVIII, No. 229 (September, 1920). 
Dibdin Collection. 3 
Meredith (Brown) Collection. 
Martin H. Colnaghi Collection. 
Costa Torro Sr. Collection. 
Louis Costa Torro Collection. 
“A most interesting work of the arch enemy of Reynolds and Angelica 
Kauffman.” 
Catalogued by R. R. M. See. 


NIKOLAUS VAN HOYE 
FLEMISH, 1626-1710 


Nikolaus Van Hoye, a Flemish painter and engraver was born at Antwerp 
in 1626 and died in Vienna in 1710. He was imperial court painter and he 
engraved the plates, after the pictures in the Collection of the Archduke 
Leopold for the work known as the “Teniers Gallery”. 


77 PORTRAIT OF A PRINCESS OF HOLSTEIN 
Child of about four years of age in a handsome lace dress of orange 
red. She wears a breloque of crystals and pearls on an orange ribbon, | 
Her plump little wrists are embellished with large pearl armlets; she - t' 
holds a single flower. Her whimsical head is adorned by a lace bonnet : 
trimmed with rose colored ribbons and an enamelled and crystal 
agraffe. In late eighteenth century moulded frame. 
Canvas. Size, 3 feet, 8 inches x 2 feet, 8 inches. 
(H. 1. H. Archduke Leopold Salvator) 


[SEE ILLUSTRATION ] 
62 


OZIAS HUMPHREY 
1742-1810 


Ozias Humphrey was born at Honiton in Devonshire. In 1779 he was 
elected an Associate of the Royal Academy and in 1781 an Academician. 
In 1766 he was commissioned by the king to paint miniatures of the Queen 
and other members of the royal family. 


718 


719 


PORTRAIT OF PROFESSOR CROWE 

A bust portrait, in full face, of the famous clergyman Bee professor, 
in his clerical garb, with white lawn clerical tie. _The face looking 
straight ahead. It is one of the strongest renderings of “men” por- 
traits one could see, and is really alive. He has brown eyes, dark eye- 
brows, hair slightly powdered, the mouth willing and intelligent. 
Signed with his monogram on the column on the Jett side of the 
picture. | 

Exhibited at the Royal Academy, 1795. No. 418. 

Sir Charles Turner Collection. 

Emile Gross Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


JULIUS CAESAR IBBETSON 
1759-1817 

EGGLESTONE CASTLE, YORKSHIRE ; 
A shallow river, with large rocks, passes through the centre of the 
picture, with a large lake partly seen in the distance; on either side 
are masses of graceful trees, and in the centre at the edge of the 
lake are two figures; on the height to the left are seen the ruins of 
Egglestone Abbey, on the right bank of the Tees, above the junction 
of the Thorsgill beck with the Tees, a Premonstratension house dating 
from about 1195-1208; in the grounds adjoining the Abbey sheep are 
seen pasturing. (Lord Grimthorpe Collection.) 
Canvas, 1514 x 211% inches. 
Note.—This interesting picture of considerable topical value has long 
been ranked as by J. M. W. Turner R.A., and as such was sold in the 
John Heugh sale at Christie’s on April 24, 1874, when it brought £105 
(G. Redford, ‘‘Art Sales’, 1888, Vol. 2, p. 121) but this attribution 
cannot be maintained. It is true that Turner, and many other artists 
painted this picturesque view of medieval ruins; Turner’s Drawing 
of about 1797 was engraved for Whitaker’s ‘Richmondshire’, 1822. 
But this picture is not derived from any of these, and it at once 
suggests Ibbetson (styled by Benjamin West as “The Berchem of 
England’), who was born in Yorkshire and who painted many 
pictures in that and the neighbouring counties. 
Catalogued by W. Roberts. 


64 


[79] 


A COLLECTION OF FIVE ILLUMINATED MUSIC SHEETS OF 
PARCHMENT FOURTEENTH TO SEVENTEENTH CENTURIES 


NUMBER 80 


BOHEMIAN 
CIRCA 1600 


(a) ILLUMINATION ON MUSIC SHEET OF PARCHMENT 

With two representations from the Script painted in gouache, the 
portraiture being particularly interesting. Signed and with coat of 
arms “Jan Cyrill Cyrynowsky”. Marginal arabesques of orange-red, 


gold and blue. (H. JI. H. Archduke Leopold Salvator) 
Size, 2214 x 18 inches 


SOUTH GERMAN 
15TH CENTURY 


(6) ILLUMINATION ON MUSIC SHEET OF PARCHMENT 
Letter “S”’, with geometrical enrichment in purple, green and blue 
and arabesques of grisailles; original background of gold and margin 


arabesques in colors. (H. I. H. Archduke Leopold Salvator) 


Size, 23 x 16 inches. 


SOUTH GERMAN 
14TH CENTURY 


(c) ILLUMINATION ON MUSIC SHEET OF PARCHMENT 

Letter “B”, with King David playing the harp. Original gilding 
simulating an intricately tooled book cover. (H. J. H. Archduke 
Leopold Salvator) 

Size, 20 x 1414 inches. 


BY AN UNKNOWN MASTER 
SOUTH GERMAN, 15TH CENTURY 


(d) ILLUMINATION ON MUSIC SHEET OF PARCHMENT 
Letter “U’’, with the Ascension. Original gilding. The left margin 
with arabesques, cranes and peacock in blue, green, gold and crimson. 


Size, 20 x 1434, inches. 
(H.R. H. Archduke Leopold Salvator) 


66 


SOUTH GERMAN 
15TH CENTURY 


(e) ILLUMINATION ON MUSIC SHEET OF PARCHMENT 

Letter “P”, with a representation of the Nativity. Original gilding 
on halos, spandrels and floral enrichments. (H. R. H. Archduke 
Leopold Salvator) 

Size, 21 x 15 inches. 


JOHN JACKSON 
1778-1831 


After going through the usual routine of study at the Royal Academy, he 
was for a time employed in painting and copying portraits for “Cadell’s 
Portraits of Illustrious Persons of the Eighteenth Century.” He became an 
Academician in 1817. Some of his portraits are in the National Portrait 
Gallery and others in South Kensington Museum. 


$1 


MRS. JACKSON AND CHILD 

In a reddish-brown dress with a low neck. Looking down. Reddish- 
brown hair. Clutching at her breast and looking up is a small baby 
with fair very curly hair. Dark background. 

Oils on canvas. Sight size, 291% x 241% inches. 

lilustrated as a representative work of Jackson, full page in colour, in 
“The Connoisseur”. Vol. LVIII, No. 230 (October 1920). 

“This picture, which many wanted to label a late work by Sir Joshua 
Reynolds, is indeed full of the idiosyncrasies of the Great President 
—his composition, his feeling, even his fads as to the use of bitumen 
and the effects of light and shade. In every sense, it reaches the 
pinnacle aimed at by Jackson and is one of his very best pictures.” 
Louis Costa Torro Collection. 

Catalogued by R. R. M. See. 


67 


[82] 


JENS JUEL 
1745-1802 


Jens Juel, the Danish portrait, landscape and still-life painter, was born at 
Gambourg in the island of Funen, and died at Copenhagen. Some of his 
works are in the National Gallery at Christiania (Oslo), and in the Chris- 
tiansborg at Copenhagen. 


82 THE LADY WITH THE GUITAR 
Oils on canvas. Sight size, 291% x 241% inches. 
The picture has at some time been in an oval frame and the spandrel 
has left slight traces. 
Marquise de Rumilly Collection. 
Costa Torro Sr. Collection. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


68 


[83] 


TILLY KETTLE 
CA. 1740-1786 


838 PORTRAIT OF MRS. GEORGE MASON 
Wife of Bishop Mason. This portrait was exhibited at the Royal 
Academy in 1781, No. 228. 

/ Three-quarter length. Young and beautiful woman in a white mus- 
lin dress, with lace front, long sleeves and blue sash. Blue ribbon 
round neck. Hair powdered and curled; pale blue ribbon. lLand- 
scape background. 

Oils on the original canvas. Sight size, 29 x 24 inches. 

Bought direct from the family by Martin H. Colnaghi, who sold it to 
Baron Costa Torro. 

Louis Costa Torro Collection. 

Catalogued by R. R. M. See. 


69 


SIR GODFREY KNELLER 
ENGLISH, 1646-1723 


Sir Godfrey Kneller studied under Ferdinand Bol, Carlo Maratti and 
Bernini and is noted as a painter of history, having painted many royal 
personages of Europe. 


84 PORTRAIT OF A LADY IN ROSE 
Bust portrait of a young woman with long curling hair, her face 
turned three-quarters to the onlooker. She wears a tight fitting 
bodice with loose sleeves of brilliant rose colored velvet. Oval on 
canvas. In gesso frame of later date. 
(H. I. H. Archduke Leopold Salvator) 
Size, 2 feet 6 inches x 2 feet 1 inch. 


70 


SALE FRIDAY EVENING, JANUARY TWENTY-FIRST, AT EIGHT-FIFTEEN 


me: SECOND SESSION 


2 NUMBERS 85-168 


[85] 


SIR PETER LELY 
1618-1680 


85 PORTRAIT OF WILLIAM, PRINCE OF ORANGE 
Bust portrait in oval. Dressed in pluin-colored striped velvet with 
magnificent lace collar and silver belt. Blond curling hair, straight 
At “ moustache, and pointed beard. 
a Sioned “Van der Faes, Pinx Act. 26”. 
Oils on canvas. Size, 33 x 30% inches. 
(Marquess of Reading Collection) 


(at 


SIR THOMAS LAWRENCE, P.R.A. 
1769-1830 


Sir Thomas was born at Bristol in 1769, his grandfather a clergyman, but 
his father a rolling stone who had been successively solicitor and excise- 
man and was now an innkeeper. In Thomas’s childhood the family lived 
in Bristol, Devizes, Oxford and Bath, where the precocious youngster 
amused the customers of the various inns by reciting to them and drawing 
their portraits. At Bath he had some instruction from Wm. Hoare, R.A. 
In 1787 he went to London and entered the Academy Schools, exhibiting 
four portraits at the Academy the same year. He made his way very rap- 
idly and gained the royal favour, and when only twenty-one was made an 
extra associate of the Royal Academy. On the death of Sir Joshua 
Reynolds, he was appointed by the King his painter m ordinary. H e died 
suddenly in 1830, at the height of his fame, and was buried in St, Paul’s 
Cathedral. 

The recent sensational sale of “Pinkie” shows his position in the ae 
tion of connoisseurs. ‘ 


86 PORTRAIT OF MISS PLOWDEN 
Three-quarter length of a very young girl, seated, holding a dark red 
pink in her left hand. Long white dress with high waist, short 
sleeves, décolleté level with shoulders, wide dark red sash. Small 
chubby red-cheeked face with large blue eyes; fair hair cut in anes 
to cover forehead and hinging on either side of face. : 
Eevning sky and landscape on left, dark red drapery on right. 
Oils on canvas. Size, 20 x 1614 inches. 
Lady Paget Collection. 
Murray Marks Collection. 
Jules Porges Collection. 
Louis Costa Torro Collection. 
“A perfect example of the type of ‘smaller than life’ portraits, often 
executed by Sir Thomas before the larger portrait.” 
A life-size picture of the same subject was sold some twenty years 
ago in the United States and is now in one of the well known American 
collections. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
12 


[86] 


JEAN ETTIENE LIOTARD 
GENEVA, 1702-1789 


Liotard was a pupil of J. B. Masse and later of F. Lemoyne. He painted 
the portrait of Clement XII and also several of the cardinals. He exhibited 
portrait and crayon drawings at the Royal Academy in 1734 and 1774. 


87 


PORTRAIT OF A YOUNG NOBLEMAN 

Three-quarter length. Dressed in a brocaded silver-gray coat with 
lighter long waistcoat of similar shade; huge brown sleeves with 
buttons, lace ruffs and jabot. His right hand rests on the back of a 
Louis Quinze chair. Full face turned to the onlooker. 

Oval on canvas. Size, 4 feet 1 inch x 38 feet. 

(H. 1. H. Archduke Leopold Salvator) 


L. DE LONGASTRE 


L. de Longastre, of French origin, exhibited as many as twenty pictures at 
the Academy in five exhibitions. The pastels which we have seen by him 
are executed with a facile crayon. The state of conservatism is generally 
good and the drawing faultless. 


88 


PORTRAIT OF A LADY 

Bust, wearing white drapery, open chest, and neck. Nearly full face. 
Her eyes are grey. Fine nose, and small mouth. Curly, light brown 
hair, held by blue silk ribbon. 

Blue and grey sky background. 

A very delicate and charming oval pastel on paper, stretched on 
canvas. Sight size, 231% x 1914 inches. 

Signed and dated on the left, 1790. 

This pastel was strongly influenced by Rosalba, the Franco-Italian 
pastelist. 

Braithwaite Wilson Collection. 

Emile Gross Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


74 


DAVID MARTIN 
1736-1798 


David Martin was a pupil of Allan Ramsay, and when quite young accom- 
panied him to Rome; after which he studied at the St. Martin’s Lane 
Academy. He joined the Incorporated Society of Artists, and in 1775 
settled in Edinburgh, and was made chief painter to the Prince of Wales 
for Scotland. 


89 PORTRAIT OF MARION McCULLUM 
Bust facing front. Right arm rests on red drapery. White low- 
necked dress with very full sleeves and red sash. Very large dark 
eyes, dark very curly hair covering forehead, tied with fillet ribbon 
GLU z and falling on shoulders in ringlets. Landscape background. 
Oils on canvas. Sight size, 30 x 2434 inches. 
Signed on right on sleeve, “D Martin pinxt.” 
Marion McCullum, a famous beauty of the North, had been remarked 
by the “Royal Lover” and her portrait had been commanded by the 
Prince of Wales. The fickle First Gentleman of Europe, when his love 
affair was terminated, had the picture stored in a loft of the Pavilion, 
his palace in Brighton. One day it was given to (some wicked people 
say stolen by) the favourite valet of the day, a James Stuart. Any- 
way, with the story attached, it was sold in a roll on the unlined 
canvas to Martin H. Colnaghi in 1903, who had it carefully relined and 
restored by Byard Bros. He sold it to Mr. Costa Torro. 
Reproduced in “The Connoisseur” in 1920, full page in colours, as the 
representative work of this rare master. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


75 


J. J. MASQUERIER 
1778-1855 


Born in Cheiten ie reren Protestant parentage, “Masquerier returned to 
Paris at the age of eleven with his family and there studied’ art under 
Vincent and Vernet for nearly three years. On his return to England he 
astonished his masters as well as his fellow students at the Academy 
Schools. His portraits of himself exhibited in 1795 had a sensational 
SUCCESS. 

Taken by Hopper into his studio where he cainpietan many of his pic- 
tures, he at the same time took lessons from John Russell. The year 1800 
brought his sketches of Bonaparte and his generals. : 

His patrons were found among such prominent families as > the Burdetts, 
the Langhams, the Erskines, etc. 


90 PORTRAIT OF HELEN MARIA WILLIAMS (THE POETESS). 1820 
Nearly in profile, looking to right. A lady of mature age; red 
dress, white fichu. Dark background. 

Oils on canvas. Sight size, 2814 x 23 inches. 

This finished sketch was executed while he was in France. - From 
the Rev. Athanase Coquerel it passed to Marie Coquerel, his daugh- 
ter. It was bought from Charles Athanase Faucillon, descendant of 
Marie Coquerel and her husband, Jean Faucillon, by Baron Costa 
da Torro. Thence to the Louis Costa Torro Collection. 

“This most powerful portrait is in our opinion the strongest picture 
in oil ever executed by the master. It is here that he attains the 
greatest of the broad, dashing, pastels of his first period. This por- 
trait can be compared in quality and strength to any Hogarth, Rae- 
burn, or Chardin. It has character and subtlety. It is alive—and 
spontaneous. It could hold up its head proudly in any picture gal- 
lery between a Franz Hals and a Rembrandt.” 

Note.—Two slips of canvas have been added on the sides in the 
plain parts of the background when the picture was relined. The 
main body of the portrait is marvellously clear and pure, the face 
is in an untouched state. 

“The only man that could have imitated such spontaneous technique 
was the Irish Franz Hals, George Chinnery.”’ 

Illustrated Plate L; in “Masquerier & His Circle’ by R. R. M. See. 
Listed Page 240 of the same work. 

Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
76 


[90] 


MINIATURES OF 


EIGHTEENTH AND EARLY NE Ey es CENTURIES 


. Cris 91-98 ie 
MARIE GABRIELLE CAPET 
FRENCH, 1761-1818 


cone SRP reintirty 


Mlle. Capet was an able miniaturist whose work has often been ascribed to 
Mme. Vigée Hall. | 


91 “DEDICASSE” | a ! 7 
Miniature portrait on ivory of a young woman in Directoire,costume  =— 
and long flowing hair, tied with ribbon of white tulle and GOSe gar- 
land. She is depicted writing on a marble plaque under the image 
of a heart “Il est a toi pour la vie” 

In Ormolu baguette. Size, 214 x 21), inches. 
(Lord Grimthorpe Collection) 


[SEE ILLUSTRATION ] 


HENRY EDRIDGE 
ENGLISH, 1769-1821 


Henry Edridge was advised by Reynolds to specialize in miniature. 


92 PAIR OF PORTRAITS ON IVORY OF A LADY AND GENTLEMAN 
In the costumes of the Restoration period and painted in a free and 
vigorous manner background. (2) 

Signed. 
In oval gilded baguettes. Size, 3 x 21% inches. 
(Lord Grimthorpe Collection) 


[SEE ILLUSTRATION ] 
78 


[92] [93] [92] 


JEAN GUERIN 
FRENCH, 1760-1836 


De Mauri in his “Miniature su Avorio” (page 253) states that Guerin’s 
miniatures are exceedingly rare, and that his portraits of women are rarer 
than those of men. Examples of his work in the Wallace Collection and 
Strasbourg and Colmar Museums. 


93 PORTRAIT OF MLLE. DE MONTBRIZON 
Circular miniature on ivory of a young girl, painted three-quarter 
length, her long curling brown hair tied with a blue ribbon. She 
wears a blue girdle and holds a letter in her right hand. Signed 
Guerin in lower right hand corner. 
In a chased ormolu baguette of the period. Diameter, 334, inches. 
(Lord Grimthorpe Collection) 


[SEE ILLUSTRATION ] 


79 


PETER ADOLPHE HALL 
SWEDISH, 1739-1793 


Peter Adolphe Hall displayed a wonderful delicacy of outline, and great 
taste in coloring, so much so that he has been called the Van Dyck of min- 
iature painters. He exhibited many of his works at the Salon from 1769 
to 1789. 


94 PORTRAIT OF ADELAIDE BOBIN | 
Miniature portrait on ivory. Circular medallion, bust portrait of a 
distinguished lady with powdered hair and ney fitting blue bodice. 
Gilded baguette. | 

F tia Diameter, 2 inches. 

(Lord Grimthorpe Collection) 


[SEE ILLUSTRATION ] 


GABRIEL-JEAN-JOSEPH-HUBERT LE MONNIER 
FRENCH, 1761-1800, 


95 MINIATURE PORTRAIT ON IVORY OF LADY IN GRAY-BLUE 
Oval medallion portrait of a young matron with long powdered hair: 
She is dressed in a tight fitting blue bodice with scarves of muslin; 
gray background. 
In chased gold baguette. 
Size, 2x 4134 -inches: 
(Lord Grimthorpe Collection) 


[SEE ILLUSTRATION | 


M. ROUVIER 
FRENCH, 1750-1815? 


Rouvier was one of the most talented miniature painters of the latter part 
of the 18th century. He exhibited in 1779 at the Salon de la Correspond- 
ance de la Blancherie. 


96 MINIATURE ON IVORY 
On an enamelled tortoise-shell bonbonniere with finely chased gold 
mounts. The portrait represents a matron in Louis XVI costume of 
crimson with fur trimmings and jewelled diadem in her powdered 
hair. 
Diameter, 21% inches. 
Signed and dated 1774. (Lord Grimthorpe Collection) 


[SEE ILLUSTRATION | 
80 


[91] - [97] 


[95] [94] 


SAM SHELLEY 
ENGLISH, 1750-1808 


Sam Shelley was one of the foundation members of the Water Color Society. 
He acquired his excellent style from Sir Joshua Reynolds. Examples of 
his miniatures are in the South Kensington Museum. 


97 MINIATURE PORTRAIT ON IVORY OF MISS LINWOOD 
Bust portrait of a young woman in powdered hair turning her head 
j- to the onlooker. Ivory plaque signed on back in Shelley’s own hand- 
writing “Sam Shelley, Henrietta Street, Covent Garden”. In oval 
eold frame with Georgian hallmarks. (Lord Grimthorpe Collection) 
Size, 24% x 2 inches. 
81 


[93] 


ANTOINE VESTIER 
FRENCH, 1740-1824 


Vestier, though much better known as a painter in oils, was a skillful min- 
iaturist, who exhibited at the Salon de la Correspondance de la Blancherie. 


98 


MINIATURE PORTRAIT ON IVORY OF COMTESSE DE LOISNE 
On an ivory tortoise-shell-lined box with gold baguette. Portrait of a 
young woman nearly facing the onlooker. She is dressed in a jacket 
of blue over a plated silk gown of cream, one shoulder exposed through 
the sleeve. Her auburn hair trimmed with a green band holding 
bouquets of flowers. (Lord Grimthorpe Collection) 

Diameter, 31/4, inches. 


[SEE ILLUSTRATION ] 


82 


[99] 


GASPAR NETSCHER 
DUTCH, 1639-1684 

99 PORTRAIT OF WILLIAM OF ORANGE 
Three-quarter length figure, in full blue armor. With lace jabot, long 
curling hair, and holding a martial staff in his right hand, while his 
left rests on the royal crown. The background of a wooded hill with 
a castle. In carved and gilded frame of later addition. (Marquess of 
Reading) 
Canvas. Size, 30 x 2514 inches. 


[SEE ILLUSTRATION ] 


83 


OAS 


AUGUST NICODEMO pe 
ITALIAN SCHOOL, 1760-1796? ‘ 


Nicodemo was court painter to the King and Queen of Naples. 


100 


101 


102 


SIESTA 

A young maiden reclining, the palin flesh tones of her nude upper 
body contrasting with the wealth of white coverlets; her roguish 
face crowned by a white chiffon bonnet with pink trimming. Back- 
ground of olive-green draperies. (H. JI. H. Archduke Leopold Salva- 
tor) 4 

Canvas. Size, 12 x 10 inches. 

Handsome contemporary gesso frame. 


NORWICH SCHOOL | 
EARLY 18TH CENTURY 


LANDSCAPE WITH THATCHED FARMHOUSE 

With wayfarers, horse and dog and a gabled Tudor house behind huge 
straw piles. Though labelled “Brand 1791” it is doubtlessly of much 
earlier date and by a master preceding and possibly inspiring “Old” 
Crome. ne 
Original Georgian gesso frame elaborately carved. With a collector” S 
seal and the monogram ‘‘PS”’. 

Oils on mahogany panel. Size, 2014 x 2214 inches. 

(Marquess of Reading) 


JOHN OPIE 
1761-1807 


PORTRAIT OF A LADY WITH A RUBY BROOCH 

Bust, facing front. Dark dress, square décolleté, frilled white muslin; 
white muslin frilled collar tied with green ribbon, Large ruby brooch. 
Small necklace round red stones. Single stone earrings. Dark curly 
hair; white lace mob cap tied with pale green ribbon. 

Dark background. 

Oils on canvas. Size, 23 x 1714, inches. 

Xavier Haas Collection. 

A genuine example by the master. 

Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
84 


[102] 


WILLIAM OWEN — 
1769-1825 


William Owen, an eminent painter of portraits and fancy subjects, Was 

born at Ludlow. In 1804 he became an Associate and in 1806 a full mem-— 
ber of the Royal Academy. In 1810 he was appointed portrait painter to 

the Prince of Wales. 


103 SUBJECT PICTURE: “HOMELESS” | 
Seated in front of a large boundary stone, is a young woman suckling 
a small baby. She has a yellow dress and a red cloak. Standing on 
right, his right arm resting on top of stone, a young boy looking 
down sorrowfully at the group. On left, seated on the ground, asleep 
and resting on her mother’s lap, a small girl. Her straw hat, blue 
lined, red strings, lies in foreground. 
Landscape, autumn foliage. 
Oils on canvas. Size, 3014 x 2314 inches. | 
“This picture has been engraved in a more finished version. ‘This is 
the original and broadly executed version of the Subject.” 

Lord Tweedmouth Collection. 
S. T. Smith Collection. 
Emile Gross Collection. 
Xavier Haas Collection. . 
Catalogued by R. R. M. See. - 


| 
| 
| 


[SEE ILLUSTRATION | 
86 


[103] 


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CHRISTOPHER PACK “ 
1750-1814 o 


Born of an old Norwich family and intended to follow his father in trade. 
He occupied his spare time with painting, but business losses decided him 
to take it up seriously. He came to London, and studied under Reynolds. 
About 1796 he returned once more to London, and exhibited at the 
Academy. 


104. PORTRAIT OF MASTER CHARLES POTHELWAITE 
Full-length figure of a boy, resting at the edge of a forest on a bank. 
He wears knee breeches, a greyish coat, a lace shirt and collar, grey 
stockings, and patent leather shoes. He is a most refined- looking boy 
with blue eyes, a fresh complexion, cherry-like lips, and blonde hair. 
Highly finished background in the manner of Russell: a leafy tree on 
the right, and on the top of the picture; an open landscape with a 
lake and a view of a park, on the left. Above this is a ely sky 
background. 
Pastel is on paper, stretched on canvas. Size, 40 x 8014 TONES 
Signed in red chalk, just above the shoe on the left hand, side ce 
Pack Ft.” 
Exhibited at “Les Maitres Anglais”, Paris, 1919. No. 145. 
Sir Tollemache Sinclair Collection. 
Martin H. Colnaghi Collection. 
Emile Gross Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See 


[SEE ILLUSTRATION ] 
88 


[104] 


GIOVANNI PAOLO PANINNI 
1691-2-1764 

Cavaliére Giovanni Paolo Pannini (or Panini) was born at Piacenza in 
1691 or 1695. He went early to Rome, where he became a scholar of 
Andrea Locatelli and Benedetto Luti. He also partly adopted the style of 
Salvator Rosa. He applied himself to designing the remaining monuments 
of ancient architecture in the Roman vicinity. His merit, however, is not 
confined to architecture; he decorated his pictures with figures, gracefully 
designed, and grouped with taste. Works of Pannini are to be found in 
most large collections in England and America and several decorate the 
palaces of Rome. Panini died in 1764. He was a member of the Academies 
of San Luca, at Rome, and of Paris. Many of his pictures have been en- 
graved by well known engravers. | 


FOUR OVERMANTEL PANELS. CLASSIC RUINS 


105 Ruins, with a four columned porticon on right. Right foreground, a 
group of eight persons. Six others are walking among the ruins. © 


106 Ruins. On right, large building with numerous pillars in good state of 
preservation. Winding road in centre on which a man on a white 
horse is talking to two pedestrians. Nine other persons in four 
groups. 

[SEE ILLUSTRATION | 


107 Ruins. Large ruin on right with thirteen pillars still standing. Small 
domed building on left. Seven people in three groups and a horseman 
galloping across the grass. 


108 Ruins. On right in front of a small domed building, a ruin with 
numerous pillars, on the architrave of which are bas-reliefs showing a 
man and a horse. One of these bas-reliefs lies on the ground on 
extreme right. On left, ruin—two pillars and architrave. Nine per- 
sons are dispersed among the ruins. 

Oils on canvas. Sizes, 19 x 4914 inches. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION | 
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[109] 


GIOVANNI PAOLO PANNINI 
1691-2-1764 © 


109 ARCHITECTURAL RUINS 
A typical example of this artist’s pictures of the architectural neglect 
' of ancient buildings in Rome. He depicted on canvas, what Gibbon has 
told us in immortal prose, the story of the decline and fall of Ancient 
Rome. The massive medieval buildings are here seen with trees and 
shrubs growing out of every place where a little soil could deposit 
itself and in which roots could obtain a slight hold. Through a high 
double archway to the right is seen a portion of a rotunda or forum. 
To give a little life to this scene of decayed greatness, the artist has 
introduced many figures all more or less idly employed in exploring 
the ruins or in resting among the huge slabs of stone; a further 
human touch is given to the scene by a man and woman conversing in 
the portico on the left, across which the shadow from the sun is 
thrown. (Lord Grimthorpe Collection) 
Canvas. 271% inches by 35 inches. 
Catalogued by W. Roberts. 


MATTHEW WILLIAM PETERS 
1742-1814 


The most French of the British artists of the seventeenth century, with a 
tt predilection for lovely women and large hats. He took orders, and became 
hh Prebendary of Lincoln Cathedral and Chaplain to the Prince Regent. 


110 PORTRAIT OF MRS. GRANT 

_ Bust, three-quarters to the left. Evening dress lightly indicated, with 
* __ blue sash, low neck. Aristocratic face with well shaped mouth and 
4 £0 4 straight nose. Dark eyes. Fair hair fluffed round head and hanging 
in long ringlet on left shoulder. 
Pastel on paper. - Size, 1014 x 81% inches. 
Exhibited at “Les Maitres on nea Paris, 1919. No. 154; Zurich, 
1920. No. 70. 
Xavier Haas Collection. 
“A very important and charming work.” 
Catalogued by R. R. M. See. 


Wy mien 


ROBERT EDGE PINE 
1742-1790 


This artist went to America in the ’eighties and died in Philadelphia in 
1790, after having painted the portraits of George Washington and many 
of his generals. He executed pastels in his early period, being much in- 
fluenced by Hoare of Bath. 


111 PORTRAIT OF MR. TYSSEN 
Bust of a young gentleman, three-quarters to the left. He wears a 
blue velvet coat, with gold-brocaded waistcoat and buttons, white lace 
collar, and unpowdered wig of brown curls. Brown eyes, dark eye- 
Uo - brows. He is looking full face, with a noble and quiet expression. 
This is one of the early works of Robert Pine, and is a charming 
example of the early eighteenth century art of the pastellists. It 
comes from the Collection of Lord Amherst of Hackney at Didlington 
Hall, Norfolk, and represents a member of the Amherst family—one 
of the brothers of Samuel Thyssen. It is signed on the left hand side, 
in the clear handwriting of the period, “R. Pine March 1761/2”. Until 
this signature was discovered, the picture had been attributed, both 
by Lord Amherst of Hackney and Mr. Emile Gross, to Hoare of Bath. 
Xavier Haas Collection. 
Companion picture to the following. 
Catalogued by R. R. M. See. 


é 93 


112 


113 


ROBERT EDGE PINE 
1742-1790 


PORTRAIT OF SAMUEL THYSSEN, F.A.S., OF NARBOROUGH 
HALL, NORFOLK 

Bust portrait of the celebrated numismatist, in brow velvet coat, 
yellowish waistcoat, lace collar and tie. 

Signed on the left, in the clear handwriting of the period, “R. Pine— 
Fecit, March 1761/2”. Until the discovery of this signature, the 
picture had been attributed both by Lord Amherst of Hackney and 
Mr. Emile Gross to Hoare of Bath. 

Lord Amherst of Hackney Collection. 

Xavier Haas Collection. 

Companion picture to the preceding. 

Catalogued by R. R. M. See. 


BY A FOLLOWER OF ALEXANDER ROSLIN 
SWEDISH, 1718-1793 


PORTRAIT OF THE QUEEN OF NAPLES, SISTER OF 

MARIE ANTOINETTE 

Seated in an oval-back chair, in voluminous blue robes, lace collar 
and lace ruffs. High feathered and flowered head-dress of lace in her 


_ fluffy powdered hair. Her right is placed on a crimson cushion near 


the royal crown. Beneath the cushion a cover of ermine. Back- 
ground of a crimson drapery. In gilded gesso frame of later date. 
Canvas. (H. I. H. Archduke Leopold Salvator) 

Size, 3 feet 5 inches x 2 feet 6 inches. 


CATHERINE READ 
(?)-1778 


Catherine Read practised in oil and pastel in London at the beginning of 
the reign of George III and Valentine Green engraved some of her works. 


114 LADY ANN DE CRESPIGNY 


Pastel portrait on paper, stretched on canvas. Size, 2334, x 17 inches. 
Lord Crespigny Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
94 


[114] 


[115] 


CATHERINE READ 
(?)-1778 


115 PORTRAIT OF A LADY 
Pastel on paper. Sight size, 2314, x 1714, inches. 
The picture is in its original carved Chippendale frame. 
This important pastel in perfect condition was originally the prop- 
erty of Mr. H. F. Webb, the great-grandson of John Russell. Mr. 
Emile Gross obtained it from Mr. Webb in 1912. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


96 


116 


apt 


117 


‘SIR JOSHUA REYNOLDS 
1723-1792 


PORTRAIT SKETCH OF MISS THEOPHILA (‘OFFY’) PALMER, 
THE ARTIST’S FAVORITE NIECE 

Head and shoulders facing front. The young girl wears a pale yellow 
mantle with a narrow gold embroidered hem, crossed in front. 
Slight V-décolleté. Head facing front. Small red mouth, large blue 
eyes looking front. Reddish brown curly hair with a dark red rib- 
bon. Dark background with blue sky over left shoulder. 

Oil on original unlined canvas. Size, 21 inches x 171% inches. 

The Countess of Inchiquin Collection. 

Lord Ellesmere Collection. 

Xavier Haas Collection. 

“A typical work of the great President of the Royal Academy. All 
the more interesting, as it is certainly a sketch from life, which he 
used afterwards for many of his composition pictures, such as 
Robinetta, ete.” 

Catalogued by R. R. M. See. 


SIR JOSHUA REYNOLDS 


PORTRAIT OF GEORGINA, COUNTESS SPENCER 

Bust facing front. Dark dress, white lace trimmed décolleté, red 
sash tied in bow in front—wide dark blue velvet band round throat. 
Head one-half right looking right. Cluster pearl earrings. Soft 
brown hair dressed in heavy chignon at back, with jewelled hair 
ornaments. 

Oils on canvas. Size, 29 x 24 inches. 

Wm. Locke Collection. 

Lord Wallscourt Collection. 

Ch. Wertheimer Esq. Collection. 

Martin H. Colnaghi Collection. 

Louis Costa Torro Collection. 

A picture in a wonderful state of preservation on its original unlined 
canvas. 

Catalogued by R. R. M. See. 


97 


SIR JOSHUA REYNOLDS 


118 SKETCH FOR THE FULL LENGTH PORTRAIT OF LADY 


q ( . 


BAMPFYLDE 

Full length, standing facing front. Long greenish white dress with 
long full sleeves, V décolleté high waist. Long green scarf. Left 
arm resting on top of a chest. Head three-quarters left looking left. 
Hair powdered and dressed high. Landscape meee 

Oils on canvas. Size, 29 x 24 inches. 

Lady Inchiquin Collection. 

FitzHenry Collection. 

Baron Costa da Torro Collection. 

Louis Costa Torro Collection. 

“This most interesting sketch of the famous icine of Lord Alfred 
de Rothschild’s collection is a typical example of the studio first 
‘rough outline’ for one of the President’s full length portraits. These 
portraits, as everyone now knows, were executed by the numerous 
pupils whom Reynolds guided, just as did Rubens in the XVII 
century. The Master executed his sketch, to explain the general 
scheme—and finished the face, touching those points he thought 
necessary, when the large picture had been finished under his direc- 
tions. Consequently such a sketch is lightly rendered but masterly 
in execution—and gives us the first inspiration of the artist. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION | 


98 


[118] 


if 


SIR JOSHUA REYNOLDS 


119 PORTRAIT OF COUNT DE SCHAUMBURG LIPPE circa, 1770 


4 , 


A slip on back of frame says: (in the handwriting of C. N. Robin- 
son) ‘A portrait of John 5th Duke of Argyll by Sir J.R. painted in 
1770—was No. 145 of the R.A. Winter Exhibition 1910. In dress 
and hair dressing as well as in style of painting it agrees with this 
picture.’ 

Bust facing front. Scarlet coat with gilt buttons. White collar, 
black stock and lace jabot. Head three-quarters left looking left. 
Clean shaven humorous face. White powdered wig. 

Oils on canvas. Size, 25 x 21 inches. 

Exhibited “Exposition de peintures et miniatures anglaises du XVIII 
siecle.” No. 217. 1912. : 
Collection of Sir Ch. Robinson, Keeper of the Queen’s Ue otiaes and 
Director of South Kensington Museum. | 

Was sold by his son, Charles Newton: Robinson, and came into the 
possession of Louis Costa Torro. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
100 


[119] 


GEORGE ROMNEY — 
1734-1802 


120 THE BROKEN REVERIE 


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A study of Lady Hamilton. | 

The beautiful sitter is represented three-quarter length to the knee, 
sitting in a landscape, with body in profile to the left. She is dressed 
in a pink robe, with a cerulean-blue sash. To describe the features 
of Lady Hamilton would be a needless task. Over her curly hair, 
there is a white turban, delicately executed, the curls falling on her 
shoulder. The background is sketched in—brownish on the right, 
suggesting the depth of a forest, while it graduates towards blue as 
it comes down towards the left. 

Pure pastel, stretched on canvas which has been restretched on can- 
vas. Size, 2714 x 201% inches. | 
Exhibited at “Les Maitres Anglais’, Paris, 1919. No. 185. 

This is the picture left to Miss Romney, by the Rev. Mr. Romney. 
Martin H. Colnaghi Collection. 

Jules Porges Collection. 

Emile Gross Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
102 


[120] 


[121] 


GEORGE ROMNEY 
1734-1802 


121 HEAD OF LADY HAMILTON 
A very attractive head and shoulders of the artist’s favourite sitter, 
set in a reddish background, a rapidly-executed finished sketch. It 
belongs to the Bacchante type of the Lady Hamilton portraits by 
Romney, described in the present writer’s “Catalogue Raisonne’’, pp. 
180-1, and is in some respects very similar to the beautiful sketch 
which sold for 2030 guineas in the famous James Price Collection 
in 1895. (Lord Grimthorpe Collection) 
Canvas on panel. 15 inches by 12 inches. 
From the Collection of R. Burn, March 29, 1890. 
Catalogued by W. Roberts. 


104 


PETER ROMNEY 
1743-1777 


Peter Romney was a brother of George Romney. It is only in recent years 
that the talent of the man who died in his youth, has been recognized. 


122 PORTRAIT OF A LADY 
Pastel and water colour on paper. Size, 1034, x 934, inches. 
Jha 7 Miss Romney’s Sale. 
Martin H. Colnaghi Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


105 


NICCOLO RONDINELLI 
ITALIAN (RAVENNA), LATE 15TH CENTURY 


Rondinelli was a pupil of Giovanni Bellini and produced pictures which are 
often thought to be Bellini’s own works. Many of the churches in Ravenna 
contain paintings by Rondinelli. 


123 MADONNA AND THE CHRIST CHILD 

The Virgin in crimson, gold-embroidered robe with a green mantle, 
and on her head a white cloth is draped which falls over her shoulder. 
With her right she holds the Infant Lord who points with his finger 
up to heaven while with her left she touches her prayer book. To 
the left of the crimson drapery can be seen a landscape with blue 
hills. In modern black and gold frame. On a walnut panel. (H. I. H. 
Archduke Leopold Salvator) 

Size, 1 foot 7 inches x 1 foot 1 inch. 


ANNE RUSSELL 
~ 1781-1857 


The youngest and most talented of the daughters of John Russell. Certain 
of her pictures are worthy of ranking with Rosalba’s. She did more 


original work than her sisters, and sent seven pictures to the Royal 
Academy, 1805-1813. ; / 


124 PORTRAIT OF A LADY IN ERMINE 
Bust, three-quarters to the left. Very elaborate dress—scarlet 
bodice edged in blue and gold, low in neck; jacket of blue silk, 
bordered with ermine, with sleeves encircled with yellow bands and 
embroidery. Young round face, with small mouth and large eyes; 
pearl drop earrings. Light brown hair dressed smoothly, and held 
with string of precious stones, black and white ostrich plumes, and 
a small gauze veil. 
Pastel on paper, stretched on canvas. Size, 2314 x 1714, inches. 
Purchased direct from H. F. Webb, Esq., great-grandson of John 
Russell. 
Emile Gross Collection. 
Xavier Haas Collection. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION | 
106 


[124] 


JOHN RUSSELL 
1745-1806 


John Russell was born at Guildford, his father being a bookseller mn that _ 


town. At the age of 14 he gained a Society of Arts prize, and later studied 
under Cotes and at the Academy in St. Martin’s Lane. 

He was at first inspired by Cotes’ methods, but he very soon did original 
work, and quickly rose to the highest position. Although he painted water- 
colours, and a good number of portraits in oil, it is the pastels which made 
his reputation. He excelled in this art and invested a method for the prepa- 
ration of pastels, which he explains in his “Elements of Pastel-painting,” 
published in 1776. | 

He was elected Associate of the Royal Academy in 1772 and Academician 
in 1778, and held the appointment of portrait painter in crayons to George 
III and to the Prince of Wales. He employed coloured crayons with the 
greatest variety in his subjects. 


125 PORTRAIT OF MRS. THOMAS GILLOW 
Née Mary Garnett, daughter of John Garnett II and Sarah Ann 
Stewart of Jamaica. Married Thomas Gillow of Foxcote, Worcester- 
shire. 7 
Bust to the waist, seated in a landscape, one-half right. White muslin 
dress with blue sash. Slight V-décolleté. Slender neck. Face three- 
quarters right looking front. Young face, regular features, blue 
eyes, an expression less commanding than that of her mother. 
Auburn hair, curls on forehead. Very fine landscape, showing Fox- 
cote Park, Worcestershire. | 
Pastel on paper. Size, 24 x 1714 inches. 
Signed and dated top left corner J Rufsel R.A. 1799. 
John Gillow Collection. 
Charles Wertheimer Collection. 
Martin H. Colnaghi Collection. 
Baron Costa del Torro Collection. 
Louis Costa Torro Collection. 
(Catalogue Raisonné of the Works of John Russell, R.A.) 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
108 


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[125] 


JOHN RUSSELL 


126 PORTRAIT OF MRS. GARNETT 
Née Sarah Ann Stewart, daughter of James Site: of Soane WAG 
ley, Kingston, J amaica. Mother of Mary Garnett afterwants Mrs. T. | 
Gillow of Foxcote, Co. Worcester. 
Bust to the waist, one-half left. White muslin dress trig with 
pale blue ribbon. Face nearly facing front, looking front. A very 2 
| qi beautiful but authorative face. Delicate complexion, blue eyes,curled 
a powdered hair with blue ribbon. : 
Pastel on paper. Size, 231% x 1714, inches. Oval. 
Signed lower left J Russell R.A. pinxt 1789. 
Mrs. Gillow Collection. | 
John Gillow Collection. 
Charles Wertheimer Collection. 
Martin H. Colnaghi, Esq., Collection. 
Mr. Costa Torro, Sr. Collection. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
110 


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_ JOHN RUSSELL 
127 PORTRAIT OF MARY GARNETT 


Afterwards Mrs. Thomas Gillow of Foxcote, Worcestershire. Daugh- a a 


ter of John Garnett II and Sarah Ann Stewart of Jamaica. 

A child of seven, three-quarter length, one-half right, holding a red 
and a white rose in her right hand. White muslin dress, short 
sleeves, low square frilled neck, broad blue sash tied in large bow at 


back. Head three-quarter right looking front and up. Large grey ~ a: : 


blue eyes—brown hair cut in fringe on forehead. White muslin 
frilled mob cap with blue ribbon tied under chin in bow. : 
Sky background. : 

Pastel on paper. Size, 2414 x 1914 inches. 

Signed and dated lower left J Rufsell R.A. pinxt 1789. 

Mrs. Gillow Collection. 

John Gillow Collection. 

Charles Wertheimer Collection. 

Martin H. Colnaghi Collection. 

Mr. Costa Torro, Sr. Collection. 

Louis Costa Torro Collection. 

“One of the fine examples of his best period.” 

A companion picture to Ann Garnett. 

See “Catalogue Raisonné of the Works of John Russell, R.A.” 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
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JOHN RUSSELL 


128 PORTRAIT OF ANN CARNETT 
Daughter of John Garnett II of Liverpool and Sarah Ann Stewart of 
Jamaica. Died 24th March, 1803. 
A child about ten years old. One-half length ane front. a white 
muslin dress over a pink slip, frilled, short sleeved, low necked, with 
broad pink sash tied in large bow at back. Ann Garnett holds a 


small yellow wicker basket in her right hand. Head three-quarter — 4 


left, looking front. Grey blue eyes. Brown hair cut in fringe on 
forehead, and falling in waves to shoulders. Sky background. 
Pastel on paper. Size, 24 x 191% inches. : i 
Signed and dated 1790. 
-Foxcote Collection—Mrs. Gillow, sister of Ann Garnett. 
Thomas Gillow Collection. 

John Gillow Collection. 

Charles Wertheimer Collection. 
Martin H. Colnaghi Collection. 

Costa del Torro Collection. 

Louis Costa Torro Collection. 

“A fine example of the master’s best period.” 

Companion picture to Mary Garnett. 

See “Catalogue Raisonné of the Works of John Russell, R. A.” 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION] 
114 


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[128] 


JOHN RUSSELL — 


129 PORTRAIT OF JANE GARNETT 


Daughter of John Garnett I of Liverpool, sister to John Garnett Il 
and aunt of Ann and Mary Garnett. ee 
Possibly a companion picture to the portrait of her sister ae 
S. A. Stewart, Mrs. John Garnett. 

Bust three-quarter right. White muslin dress, V-neck, wide collar, 


pink sash. Face three-quarter right looking front. A smiling face 


with grey blue eyes. Hair powdered grey and curled with long curls 
on shoulders, pink ribbon. | 

Pastel on paper. Size, 2314 x 1714 inches. 

Signed. John Russell pinxit 1788 on lower ga side. 

Thomas Gillow Collection. 

Martin H. Colnaghi Collection. 

Louis Costa Torro Collection. 

Catalogued by R. R. M. See. 3 | 
See Catalogue Raisonné of the Works of John Russell, R.A. This — 
picture still has the master’s printed instructions, stuck on back of 
backboard, which read \ 


LET THIS DIRECTION BE PRESERVED, 
To be used as Occasion may require. 


CLEAN the Outside of the Glass; if the Picture does not efen look 
perfectly clear, the Inside should be cleaned also. ‘Those who are not 
acquainted with Crayon Pictures, when they clean the Inside of the 
Glass should carefully attend to the following 


DIRECTIONS. 


Cut the Paper close to the Edge of the Frame, take off the Paper, and 
preserve it to be used again; draw the Brads, remove the Backboard, 
and take out the Picture, being extremely cautious that its Surface 
be not injured by the slightest Touch; it may be prudent to turn its 
Face towards the Wall, and when the Glass is cleaned, immediately 
return the Picture into the Frame; fasten the Backboard with the 
Brads, by gentle Strokes of the Hammer; cover the Backboard with 
the dry Sheet of Paper, which was taken off, and to prevent the Dust ~ 
entering, with very thick Paste, connect its Edges to the Frame by 
Strips of Paper. 

N. B. The Glass should sometimes be cleaned. 
If an accidental Brush deface the Picture, it can be repaired by a 
Crayon Painter much more readily than an injured Oil Picture. 
Should a Spot of Mildew appear, a Leather Drawing Stump, or a 
Cork pointed, will take it off instantly, but this will never happen 
but from being placed in a damp Situation. 


116 


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JOHN RUSSELL °°) | ee 
“MIRANDA” | . oe 


Bust, facing front. Low décolleté. White dress with green drap- 


eries. Young soft face, mouth open, large brown eyes. Brown hair, as 
tied with a green ribbon, flying in wind. Pare 2 
Blue sky, dark clouds. 

Pastel on paper. Size, 2334 x 1614 inches. 

Carved frame of the period. 

“Here we have life and movement unhampered, dramatic ene Bet 
consummate skill.” ; 
Direct from John Russell’s great-grandson HL. i ee ee 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


JAMES SHARPLESS 
ENGLISH, WORKED IN AMERICA 1794-1811 


PORTRAIT OF GEORGE WASHINGTON > 

An exquisite pastel portrait. The distinguished subject eee 
in profile, bust length, with black coat and waistcoat, white stock and 
frill and powdered wig. (Marquess of Reading Collection) 

Pastel on gray paper. Height, 914 inehes; width, 7% inches. 

In execution and charming result this portrait is probably the finest 
example of the work of Sharples that has come to our notice. It 
hardly seems necessary to call attention to the pertinent features of 
its physical aspect which serve to identify it. For instance the thick 
gray paper, the uniformity in size with the Hamilton portrait at the 
New York Historical Society. 

On taking this picture out of the frame we found a four-page sheet 
of old writing paper with the water-mark of a dove, exactly similar 
to that used by Thomas Jefferson in his correspondence. (See letter 
to General Armstrong, March 20, 18, in the Tristram Coffin Collection 
now on exhibition at the Anderson Galleries). 


[SEE ILLUSTRATION | 
118 


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[131] 


Ss A RM NM mC EA EEE EERO, NOE RTOS NL IT AN (eT 


AFTER A SIENNESE MASTER 
15TH CENTURY 


1382 TRIPTYCH IN FORM OF TABERNACLE 
The centre wing with the Virgin in a blue robe seme with gold stars 
over a scarlet robe. She supports the Infant Lord standing on her 
knee and is seated on an elaborate marbled dais. Above grouped in 
sunburst form are six seraph heads painted in blue-green mono- 
chrome. The right and left wings with youthful saints in rich 
mediaeval costumes, and in gables a saint bishop and two holy women 
in attitude of prayer. Gold sgraffito ground. (AH. I. H. Archduke 
Leopold Salvator) 
[SEE ILLUSTRATION | 


120 


133 


HENRY SINGLETON 
1766-1839 


Henry Singleton was brought up by his two uncles William and Joseph 
Singleton, both miniature painters. At the age of ten he is recorded as a 
genius at the Exhibition at Spring Gardens by the showing of his drawing 
in pen and ink of a “Soldier returning to his family’. This success gained 
him a een at the Royal Academy. 


OIL PAINTING: CUPID 

“niree-quarter length. Cupid is in fhe act of loosing an arrow from 
his bow. On his left hip is slung a quiver with an arrow, held by a 
broad blue ribbon over his right shoulder. Sprouting from his shoul- 
der blade, a large pointed wing. An elfish face with pointed chin, 
smiling mouth and large dark blue eyes. Light curly brown hair 


_ with tendrils on forehead. 


Oil on canvas. Size, 29 x 24 inches. 
Exhibited at “Les Enfants Anglais”, Paris, 1922. No. 69; Singleton 
Exhibition, 1920. No. 1. 


“Singleton belonged to the Reynolds school, and this picture because 


of both the treatment and the subject, has often been attributed to 
Sir Joshua Reynolds. We believe it to be the work of Singleton, but 
a masterpiece worthy to rank with any of Reynolds’ pictures.” 
Martin H. Colnaghi Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


HENRY SINGLETON 
1766-1839 


SCENE FROM LONDON LIFE: THE YOUNG GENTLEWOMAN 
VISITING THE POOR 

A group of figures. In the centre stands a young girl, holding a 
basket of fruit in her right hand and the sleeve of a link-boy in her 
left. Long white décolleté dress with red bodice, long sleeves. Head 
nearly profile, looking up into face of gentleman on the left. Yellow 
straw poke bonnet with green ribbons. On left, a man stands, feet 
apart, with his left hand on her right wrist, in black cloak and black 
cocked hat with plumes. Three other picturesque figures. 

Oils on canvas. Size, 135%x 111% inches. 

Exhibited at the Singleton Exhibition, 1920. No. 3. 

Sidney Cooper, R. A. Collection. 

Xavier Haas Collection. 

Catalogued by R. R. M. See. 


121 


GIOVANNI DOMENICO TIEPOLO 
ITALIAN, 1727-1804 


Giovanni Domenico Tiepolo accompanied and assisted his father Giovanni — 
Battista in most of his important decorative works. But few separate 
paintings by him are known. : 


135 PORTRAIT OF POPE CLEMENT XIV 

Three-quarter length portrait of the Pope wearing a jewelled cross 
over his pontificial robes. He is holding in his right hand a parch- 
ment inscribed “Breve Alexander VII’. To his left on a marble 
balustrade, the tiara and jewelled and gold crozier and to his right 
the Ganganelli arms with inscription and date 1778 (should be 1774 
or 1775—an error due to subsequent restoration.) 

Canvas. Size, 3 feet 9 inches x 3 feet. 

(H. I. H. Archduke Leopold Salvator) 


LUCAS VAN VALCKENBORCH 
FLEMISH, 1530-1622? 


Lucas Van Valckenborch was registered in the Guild of St. Luke in 1560. 
He is believed to have studied under Peter Brueghel whose influence can | 
be seen in this picture. In 1570 he obtained the patronage of Archduke 
Matthias, whom he accompanied to Linz, lower Austria where he stayed 
until 1594. This picture was apparently painted at Linz. His work is well 
represented in the Vienna Kunsthistorishes Museum. : 


136 PASTORAL PLEASURES 

The centre foreground occupied by a pond with six ladies, bathing. 
To the right, a palace to which stairs are leading, and on a platform, 
two royal personages obviously enjoying the spectacle of bathing. 
On a step behind the rose bower in the centre foreground jesters, 
and promenading couples of nobles in Renaissance costumes, and to 
the left ‘““Brueghel” rustics carousing. In the near background in 
the columnar portico of the palace a table set for a feast, and above 
a minstrel gallery with playing musicians. From two highly arched 
windows can be seen other spectators. The background with games 
of racing and a quaint joust of peasants in baskets, and beyond, inns 
and a castle on the hill. Personages portrayed in this canvas are 
countless and there is an infinite amount of imaginative detail. Elab- 
orate gilded and lacquered frame of 19th century addition. Oils on 
canvas. Signed and dated 1590. (H. JI. H. Archduke Leopold Sal- 
vator) 

Size, 42 x 59 inches. 

[SEE ILLUSTRATION | 


122 


_ VENETIAN SCHOOL. ee 
16TH CENTURY ae roe 


137 THE LORD MEETS Si MARY MAGDALENE : 
Christ in draped robes of blue-gray and scarlet, surrounded by his att 
apostles of which six can be seen in the picture; before him kneels 

ah, % st. Mary Magdalene as a shepherdess, in mediaeval robes of rich 
jo purple-rose with embroidered cloak of gold, her flying lace veil touch- 
| ing her auburn hair. Background of houses of Alpine architecture, ws 
and hills beyond crested with turretted castles. : 
In a gilded Empire frame. (H. I. H. Archduke Leopold Salvator) 
On panel. Size, 2914 x 42 inches. 


VENETIAN SCHOOL 
16TH CENTURY 


1388 (a) THE RIALTO (b) VENETIAN CARNIVAL (c) EASTER ON 
THE PIAZZA SAN MARCO 
Gouached miniatures on paper. An unusual series drawn with a 
multitude of figures in the picturesque costumes of the time. In 
gilded frames. (H. I. H. Archduke Leopold sh ai (3) 
Size, 6144 x 81% inches. 


[SEE ILLUSTRATION ] 
124 


i Spe at OPE 


» 


[138] 


[139] 


PAOLO VERONESE (CALIARI) 
ITALIAN, 1528-1588 


139 THE SYMBOLS OF THE FOUR EVANGELISTS 


“An imaginative arrangement. We see the angel in cool crimson 
garment with warm brown wings between the yellow lion and the 
black grey eagle and the reddish-brown bull. The original position 
of this picture either on a ceiling or in the frieze of a church or 
sacresty is not known.” 

Translated from authentication by Professor William Suida in “Qs- 
terr Kunstschatze”’, volume three. Illustrated in the same volume, 
plate number 78. (H.I. H. Archduke Leopold Salvator) 

Canvas. Size, 2 feet, 8 inches x 5 feet, 6 inches. 

Originally in the possession of Prince Liechtenstein, Castle Seeben- 
stein, Lower Austria. 


[SEE ILLUSTRATION ] 
126 


140 


Jn r0- 


[140] 


GEORGE VINCENT 
1796 ?-1832 


George Vincent, an English landscape and marine painter, was born at 
Norwich. He learned the principles of art from “Old” Crome and at the 
age of seventeen began to exhibit with the Norwich Society. 


THE MILL AT NORWICH 

An irregular group of old houses and cottages on and near the banks 
of a river. The mill is seen on the left partly hidden by tall golden- 
tinted trees; two men in shirt-sleeves are seen pushing off in their 
boats from the bank of the river, approaching which is a peasant 
woman with a basket on her arm apparently with the object of join- 
ing one of the boatmen. (Lord Grimthorpe Collection) 

Signed with initials G. V. in the form of a monogram, and dated 
1823. 

Canvas. 3014 x 381% inches. 

From the Collection of Mr. Noel Fenwick of Hunstanton Lodge, 
King’s Lynn, Norfolk, and probably the “Heigham on the Wensum” 
in his sale of July 18, 1892. Lot 70; at one time in the possession 
of Messrs. T. Agnew & Sons. 

An extremely fine example of this distinguished member of the Nor- 
wich School of Painting. 

Catalogued by W. Roberts. 


127 


141 


[141] 


GEORGE VINCENT 
1796- ?-1832 


WINDMILL AND POOL 

A very charming East Anglican view of rural scenery. An ancient 
and battered windmill is seen on the left on the edge of a dam over 
which the water from a pool or small lake is flowing. To the right 
amid picturesque groups of autumnal tinted trees and shrubs are seen 
glimpses of a rustic and outhouse, with a roughly made wooden 
bridge, a peasant boy and a little girl are passing, and near them, in 
the shallow water is a group of three cows and a fourth on the edge 
of the stream; cattle and buildings are seen in the distance beyond the 
windmill. (Lord Grimthorpe Collection) 

Panel. 181% inches by 25 inches. 

Catalogued by W. Roberts. 


[SEE ILLUSTRATION ] 


128 


JAMES WARD, R.A. 
ENGLISH, 1769-1859 


James Ward was a disciple of John Raphael Smith and his elder brother 
William. In 1794 he was appointed painter and mezzotint engraver to the 
Prince of Wales. He was a frequent contributor to the Royal Academy. 
He was elected an A. R. A. in 1807 and a full Academician in 1811. 


142 ITALIAN LANDSCAPE WITH FIGURES 

Canvas painted under the influence of Pannini. The right foreground 
and background occupied by ruins of a temple with Corinthian 
columns, and an obelisk with urn. To the left two youthful shepherds 
with their goats and beyond farm buildings and towering hills. Signed 
on an architectural fragment in the right hand corner. In old Empire 
gwesso frame. (H.1. H. Archduke Leopold Salvator) 

Canvas. Size, 16 inches x 21 inches. 


[SEE ILLUSTRATION ] 


129 


[143] 


GEORGE WATSON 
1767-1837 


George Watson was born at Overmains, Berwick. His first instruction was 
due to Alexander Nasmyth, but he worked for two years with Sir Joshua 


Reynolds. 


143. PORTRAIT OF THE YOUNG MASTER EVAN MURRAY 
MACGREGOR 
Oils on the original canvas. Sight size, 29 inches x 2414 inches. 
The portrait of the son of Sir Evan Murray MacGregor, Bt., chief of 
the MacGregors whose portrait was exhibited in the Royal Academy 
under No. 345 at the 1823 exhibition. 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


130 


ae 


[144] 


W. H. WHEELWRIGHT 
ENGLISH, 19TH CENTURY 


144 COACHING, HURDLING, HORSES AND THE MALL 


290- 


Framed in pitch-pine and forming a three-fold screen. Painted in a 
monochrome sepia key with heightenings of color. Series of six 
panels said to have been painted for King Edward VII, then Prince 


of Wales. 
Oils on milboard. The panels are signed and dated 1883 and 1889. 


(H. 1. H. Archduke Leopold Salvator) (38 
Height, 4234, inches; width, middle panel, 22 inches; two side panels, 
16 inches 


[SEE ILLUSTRATION | 
131 


[145] 


THOMAS WILLEBORTS (CALLED BOSSCHAERT) 
DUTCH, 1613-? 


Thomas Willeborts was a disciple of Gerard Zegher. He was much em- 
‘ployed by Prince Frederick Henry and Prince William of Orange. 


145 


THE YOUNG MINSTREL 

A handsome youth with long brown curling hair, playing the lute. 
He is dressed in black velvet over his soft white shirt, and a crimson 
cloak is thrown over his shoulders. (H. I. H. Archduke Leopold 
Salvator) 

In oils on canvas. In contemporary carved and gilded frame. Size, 
3 feet 8 inches x 2 feet 9 inches. 


182 


[146] 


JOHN WOOTTON 
ENGLISH—TO 1765 


John Wootton, an eminent English animal painter, was much employed at 
Newmarket in painting portraits of racers. His pictures were engraved 
by Canot. 


146 AN IMPORTANT EQUESTRIAN PORTRAIT OF CHARLES, DUKE 
a OF CUMBERLAND, WITH HOUNDS 

. The youthful duke in blue embroidered velvets on a fawn colored 
| = ae horse with white mane, fluffy white tail and saddle cloth of leopard 


skin. In contemporary carved and gilded frame. 
Oils on canvas. Size, 78 inches x 62 inches. 
; (H. I. H. Archduke Leopold Salvator) 


9o 
oo 


oneal 


WRIGHT OF DERBY 


Joseph Wright was born at Derby in 1734. He came in 1751 to London, 
where he became a scholar first of Thomas Hudson, and afterwards of — 
Mortimer. On leaving the latter he returned to Derby, where he estab- 
lished himself as a portrait painter. In 1773 he visited Rome and other 
parts of Italy, and returned to England in 1775. He then first settled at 
Bath, but returned to Derby mn 1777. Elected A. R. A. in 1781, he was 
chosen an Academician in 1784 but did not accept Ene honour. He died at 
Derby in 1797. 


147 PORTRAIT OF ANN HATFIELD 
(Married in 1787 to William Gossip.) 
Three-quarter length, standing, facing front. White dress, low neck 
with yellow embroidered edge, short full sleeves, blue sash unknotted 
and draped. Large reddish stone and band of black silk on right 
wrist. Face front, brown eyes, fair hair brushed up high with ring- 
let on neck, small lace cap. The right elbow rests on a table on 
which is a drawing stump and a sheet of paper. A spray of white 
arum lilies on left. Landscape background. 
Oils on original canvas—unlined stretcher and frame of the PT ie 
Size, 8614 inches x 3014 inches. 
Reproduced full page in colour as representative work of “Wright 
of Derby” in The Connoisseur, Vol. LVIII, No. 229, for Sept. 1920. 
‘““A pure and perfect picture of its type.” 
Louis Costa Torro Collection. 
Catalogued by R. R. M. See. 


[SEE ILLUSTRATION ] 
134 


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[147] 


a 

WOOD & STONE CARVINGS, BRONZE & MARBLE SCULPTURE 
NUMBERS 148-168 | | 

SOUTH TYROLEAN, 15TH CENTURY 


148 CARVED WOOD, POLYCHROMED AND GILDED mea 
STATUETTE OF ST. MARTIN E 
Group of singular importance. St. Martin dressed as a tioht ina ~ om 

fy gold embroidered crimson jacket with his round velvet hat crested | ne 

hee by a chamois brush fastened by rosette. His handsome young face is 
framed by long brown curls. He is about to cut his crimson cloak in 
two, of which half will be the beggar’s. The white horse he is riding 
is caparisoned with trappings of gold and stands on a rusticated 
ground. Original state. (H. I. H. Archduke Leopold Salvator) 
Height, 5 feet; width, 34 inches. 


[SEE ILLUSTRATION | 


RHENISH, 15TH CENTURY 


149 CARVED, GILDED AND POLYCHROMED WOOD STATUE 
ST. ANN WITH THE HOLY VIRGIN AND CHILD 
A beautiful group. St. Ann in robes of crimson with a white head 
cloth of the patrician covering her head and falling over her 
shoulders. On her lap, on a green cloth in folds, is placed the statu- 
ette of the youthful Virgin Mary with long curling hair; she is hold- 
ing the Infant Christ who stretches His hand towards a cluster of 
grapes offered by St. Ann. (H.J. H. Archduke Leopold Salvator) 
Height, 20 inches. 


136 


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[148] 


[152] [150] [151] 


TYROLEAN, 15TH CENTURY 


150 POLYCHROMED ALTO RELIEVO CARVING 

A gripping composition. The Holy Virgin is kneeling before the 
mounted body of the Lord. To her left a young saint with long curl- 
ing hair and to the right the mourning figures of the Holy Women. 
Above, behind a low hedge of clipped bushes, a walled castle flanked 
by square towers and with gabled pinnacles flanking a Romanic 
church; and to the right under a cove the Lord’s sarcophagus with 
the figure of a bearded priest in attendance. (H. I. H. Archduke 
Leopold Salvator) 

Height, 1414, inches; width, 14 inches. 


[SEE ILLUSTRATION ] 
138 


a ae oF bigs) 


TYROLEAN, 15TH CENTURY 
151 CARVED, PAINTED AND GILDED WOOD STATUETTE OF 
. ST. MICHAEL 
The figure of a youthful saint in fluted Gothic armor standing with 
| / 7 i one foot on a monster, his head covered with a casque of leather; he 


holds a spear in his right hand. Original polychromy of brown and 
crimson and gold. (H.J1. H. Archduke Leopold Salvator) 
Height, 31 inches. 


[SEE ILLUSTRATION ] 


AVE yy FS Ta (Oe re 
w be ] 


TYROLEAN, 15TH CENTURY 


152 CARVED WOOD AND GILDED STATUETTE OF ST. FLORIAN 
Vi ie Dressed in Gothic boucle armor. He has thick straight hair carefully 
shaped over his forehead. In his right hand he holds a tilting bucket. 
Original color and gilding. A typical and spirited Gothic sculpture. 
(H. I. H. Archduke Leopold Salvator) 
J Height, 29 inches. 
; [SEE ILLUSTRATION ] 


SPANISH, LATE 16TH CENTURY 


153 CARVED WOOD AND POLYCHROMED STATUE OF 

ST. THERESA 

Half length magnificently modelled representation, the face naturalis- 
jo? 2 tically painted. The saint is dressed as a noble woman in tight fitting 

embroidered robes of gold and brown, with a gold and crimson mantle 

and a blue and gold robesillo thrown over her head. The gold orna- 

mentation is composed of acanthus arabesques and Byzantine crosses. 

On an octagonal base with gold arabesque tracery on a Persian blue 

ground. (H. I. H. Archduke Leopold Salvator) 

Height, 38 inches. 


139 


SOUTH GERMAN, 16TH CENTURY 


154. GILDED SILVER STATUE OF MADONNA AND CHILD 
The Holy Virgin in flowing robes with fringed border, depicted as a 
young maiden holding the stem of Jesse in her left hand, and in her 
,. “ Yight the Christ Child enveloped in the folds of her cloak tenders the 
~ pomegranate, emblem of hope. (Lord Grimthorpe Collection) 
Height, 20 inches. 
[SEE ILLUSTRATION | 


FLEMISH, 15TH CENTURY 


155 CARVED STATUETTE OF MADONNA AND CHILD 
Of oak. The Holy Virgin in flowing robes, a chaplet of oak leaves 
on her long curling hair. The Infant Lord in her arms with his arms 
raised in a vivacious pose, feeding an eagle. (Lord Grimthorpe 
Collection) 
Height, 231% inches. 
[SEE ILLUSTRATION] 


140 


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[154] 


[155] 


ee 


156 


STONE SCULPTURE 
TOURAINE, END OF THE 15TH CENTURY 


A KING’S HEAD = 
This head does not come from a statue, but fron an abel teeter 
decoration, probably secular. It appeared on the monument from 
which it came with its head in right profile, and it is affected with a 
certain symmetry due to the natural taste for perspective among the 
Gothic sculptors. The head begins at the centre of the neck (the be- 
ginning of the shoulders is visible behind the head). It is painted 
with a crown of gold; the face naturalistically; the hair in parallel 
curls, falls vertically to the shoulders which are covered with a gilded 
cloak, disclosing a fragment of the bright red robe. Under the vest- 
ments around the neck, appears some pleated and goffered linen. Al- 
though the ornaments of the crown are broken in the upper part, it is 
certain that the crown was fleur de lisé. Half life size. ae 
From the Collection of Comte de Sagonne, Inspecteur des Beaux ee 
Moulin de l’ Abbaye, Gif, Seine et Oise. 


[SEE ILLUSTRATION ] 
142 


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[157] 


GIVEN TO GIOVANNI DA NOLA 
ITALIAN, 16TH CENTURY 


157 CARVED ALABASTER ALTO RELIEVO PLAQUE 

THE NATIVITY 

Against a magnificent background of Renaissance architecture is 
placed the group of the Holy Family with shepherds; in the fore- 
ground the Christ Child on a platform being adored by a winged 
seraph. The background represents an arched Renaissance palace 
with protruding wing held by a Corinthian column. Arched plaque in 
moulded ebonized black frame of later addition. (H. I. H. Archduke 
Leopold Salvator) Height, 25 inches; width, 1614 inches. 2 


144 


3, 


ee eee eee 


pa wrorye Po ae, Ts 1h he +r eaihah ioe goa 


kre - 


GIVEN TO BENEDETTO DA MAJANO 
FLORENTINE, 15TH CENTURY 


158 POLYCHROME TERRA COTTA BUST 


Believed to be Savonarola. His ascetic features naturalistically col- 
ored, impressively silhouetted against the high capouche of his habit. 
On contemporary moulded wood plinth. (H.I/. H. Archduke Leopold 
Salvator) 
Height without plinth, 12 inches. 

[SEE ILLUSTRATION | 


145 


ANTONIO FILARETE 
FLORENTINE, CIRCA 1450 


159 BRONZE STATUETTE OF A HORSE 


Stallion in spirited posture, its right leg lifted forward, its forelock 
tied in the form of an oblique feather cresting; its neck furnished 
with a collar. Superbly modelled. Green patina. On a modern 
Cipolin marble slab. (Lord Grimthorpe Collection) 
Height, 19 inches; length, 20 inches. 
This statue bears a close resemblance to a horse in the Museo Estense 
at Modena derived from a study by Leonardi da Vinci, according to 
Dr. Bode, in “Italian Bronze Statuettes of the Renaissance”, Vol. 2, 
Plate 132. 

[SEE ILLUSTRATION | 


146 


[160] 


ANTOINE COYSEVOX 
FRENCH, 1640-1720 


160 PAIR OF BRONZE GROUPS, 1700-1702 
Contemporary reductions by the master of the heroic marble statues 
4 at the entrance of the Tuileries Gardens. 


(a) LA RENOMEE (FAME) 

On a winged horse unhampered by harness attempting to clear a 
trunk with trophies of arms and weapons richly chased, “La Re- 
nomée” is seated, her left hand on the mount, her right holding a 
trumpet to her mouth. 

Height, 24 inches; width, 22 inches. 


(b) MERCURE (MERCURY) 
Seated sideways on a winged horse above a plinth with trophies of 
war and symbols of commerce. (H. J. H. Archduke Leopold 
Salvator) 
Height, 28 inches; width, 22 inches. 
Antoine Coysevox was born in Lyons, but of Spanish descent. He 
was the outstanding figure in the plastic arts under the Grand 
Monarque. 

[SEE ILLUSTRATION ] 


147 


161 


162 


163 


164 


ASCRIBED TO FRANCOIS GIRARDON 
FRENCH, 1630-1715 


FOUR WHITE MARBLE STATUES OF CAESARS AFTER THE — 
ANTIQUE 

Busts of the emperors Galba, Otho, Vitelius and Vespasianus. On 
lacquered socles of later date. (H.I. H. Archduke Leopold Salvator) 
Height, 12 and 121% inches. 


JAMES PRADIER 
FRENCH, 1792-1852 


BRONZE STATUETTE OF NAPOLEON IN ROBES OF THE 
“SACRE” 

Cire perdue of high and vigorous quality. (Lord Grimthorpe Col- 
lection) 

Height, 221% inches. 


ATTRIBUTED TO ANTONIO CANOVA 
ITALIAN, 1757-1822 


CARVED CARRARA MARBLE BUST OF A ROMAN EMPEROR 
An heroic sculpture, shoulders and breast in chain armor partly 
covered by the folds of a toga. On contemporary columnar Siena 
marble pedestal of yellow, black and white mottling and veins. (Lord 
Grimthorpe Collection) 

Total height, 6 feet 1 inch. 


FRENCH SCHOOL, CIRCA 1805 


WHITE MARBLE STATUE OF EMPRESS JOSEPHINE 

An interesting contemporary bust of great realism. The Empress 
is draped in classical robes enriched with fleuretted volutes, her hair 
is dressed in the Roman fashion and held by a diadem carved with 
the Imperial bee, stars and Greek Antefix. On a handsome tapering 
pedestal of later creation, furnished in panels with bronze appliques 
of the Imperial crown above letter ‘‘N”’ and the Imperial bee. Plinth 
of statue slightly chipped. (Lord Grimthorpe Collection) 

Total height, 5 feet 111% inches. 


148 


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167 


D. P. BOUCHER 

CONTEMPORARY FRENCH 
BACCHANTE 
Bronze statuette of a maiden, her nude body partly covered with a 
loin cloth, holding a cluster of grapes in her hands. Her right foot, 
turned backwards, rests on an Etruscan urn. Rich dark brown 
patina. (Lord Grimthorpe Collection) 
Height, 15 inches. 


CIRE PERDUE BRONZE STATUETTE BY E. 0. ROSALES, 1911 
THE DANCER. Statuette of a young maiden in Terpsichorean at- 
titude. Fine brown patina. Signed, dated and marked Number six. 
On a plinth of Mexican onyx. (Lord Grimthorpe Collection) 
Height, 1614 inches. 


ANTIQUE BRONZE THERME OF A BACCHIC 
HERMAPHRODITE IMPERIAL ROMAN 
Smiling countenances of two youths with draped upper bodies; long 
curling hair, the maiden’s tied with a floral wreath, the male head 
with boldly upturned curls. Original green patina. Fine state of 
preservation. On a red Italian marble pedestal of modern addition. 
(Lord Grimthorpe Collection) 

Height, 14 inches. 


BURMESE BRONZE HEAD OF BUDDHA 
CONTEMPORARY WITH MING, 1368-1644 
The heroic head of a giant statue; golden-brown patina. (H. I. H. 
Archduke Leopold Salvator) 
Height, 14 inches. 


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